"It looked cool, but it was kind of dumb."
Sound familiar? You hear it a lot. Far too often, actually.
The credits finish. The lights come up. What are most people talking about when they walk away from a theater or turn off a TV?
They're not talking about edit software or camera codecs. They're discussing the story. They are talking about the characters and the plot in which they were caught-up.
As story editors this is our craft. This is where we eat and sleep.
The writers, producers and directors are counting on us. The editorial staff is truly counting on us. They’ve done all they can in pre-pro and in filming to create a mountain of options for us. Story editors are the last gauntlet the story must run through before being handed to post-production.
We are the ones who need to deliver to the editors a clear, understandable story arc. All characters must advance. All subplots must feed the main. Every detail must perfectly convey the vision - realized or not - of everyone involved.
As Story Editor, Chris Bové works directly with the writer and director to create the strongest script possible before the shoot, or at least before the edit. Classically just for scripted television and features, story editors are being used increasingly on all types of projects, even documentaries.
Hiring one helps develop concepts faster and greatly improves how a script "feels". It is the key to eliminating issues before they arise and creating a finished product that begs repeated viewings.
Think of all the movies you've watched:
Bad Story + Great Cinematography = Flop
Great Story + Bad Cinematography = Cult Classic
Without a story editor you'll spend an eternity in the edit bay fixing a story that didn't survive the shooting process.