Meet John Allen, Editor
🎭 Pro Spotlight: Editor John Allen talks about why you need to plan ahead for post production.
Meet John D. Allen, a New York-based film editor who has cut more than twenty critically-acclaimed feature films, as well as numerous television shows, documentaries and award-winning shorts.
Allen has collaborated on five films with legendary director James Ivory, beginning with The Golden Bowl starring Uma Thurman and Nick Nolte. Lauded as “James Ivory’s masterpiece” when it premiered at Cannes, the film was followed by the comedy Le Divorce starring Naomi Watts and Kate Hudson, winning prizes for both Ivory and Watts at the Venice Film Festival.
Kazuo Ishiguro's The White Countess with Ralph Fiennes and Natasha Richardson followed next, shot and edited in Shanghai. The City of Your Final Destination starring Anthony Hopkins, Laura Linney and Charlotte Gainsbourg and cut by Allen was James Ivory's last feature as director.
Allen has twice collaborated with Australian director Bruce Beresford, editing the comedy Peace, Love and Misunderstanding with Jane Fonda and Catherine Keener. He also edited the miniseries Bonnie & Clyde, which was nominated for multiple Emmys and other awards. Other thrillers he’s cut include Mojave starring Oscar Isaac and Garret Hedlund with director William Monahan, and Bette Gordon’s The Drowning starring Josh Charles and Julia Stiles.
More recently Allen cut Ondi Timoner’s Mapplethorpe, and two films by director John Swab, Body Brokers and Ida Red, which premiered at Locarno International Film Festival. He edited Daughter of the Bride, starring Marcia Gay Harden and Aidan Quinn for director Annette Haywood-Carter.
Allen has also cut numerous documentaries, including episodes of Richard Linklater’s series That Animal Rescue Show on Paramount+, Sublime with director Bill Guttentag and Fast Histories for the History Channel. In addition to editing, Allen has directed numerous short films, including the award-winning Love And Roadkill, which won Best Short at the Williamstown Film Festival and screened at more than 15 national and international festivals.
Allen teaches editing in the graduate film program at Columbia University and has been a visiting artist at numerous other film schools. He lives in Brooklyn with his wife and son.
His favorite film credit is for editing: City of Your Final Destination.
Jane Applegate (JA): What is the most important thing you wish all producers and directors knew about working with an experienced editor?
John D. Allen (JDA): Proper planning is as important to the success of post-production as it is to the shoot. It takes multiple conversations over a period of days to establish an efficient workflow for a film’s dailies and editing, one that will work for all parties through delivery. When this is done last-minute, sometimes just hours before shooting begins, the whole project suffers and the editor can be saddled with unnecessary tasks or work-arounds that take away from their ability to deliver the best cut in the time allotted.
JA: When do you prefer to first meet with the director? As soon as the project is green lit? During the first production meeting? Separate meeting?
JDA: As soon as green-lit or even before. The first meeting should be one-on-one, with enough time for both parties to get a feel for each other’s expectations, working methods and taste. Meeting an editor for the first time should never be part of a production meeting.
JA: How can editors encourage producers to approve a realistic post-production budget and not use the funds for other expenses?
JDA: Experienced producers know the importance of this. I don’t know how editors can encourage them.
JA: Do you still work mostly remotely or are you working in person with your directors now?
JDA: I am still working mostly remotely, though not entirely. I would love to go back to fully in-person editing and get the Avid out of my house!
JA: What advice do you have for a young editor just starting out? What do you wish you knew when you started your career?
JDA: Be organized. Always trust your instincts. Always tell the truth.
JA: Any other advice you would like to share?
JDA: Because our work is done mostly alone, editors have less opportunity to socialize and build relationships with others in the workplace. This can inhibit your ability to find jobs and advance your career. So it’s crucial to make an effort to get out and talk to your peers at festivals, parties and screenings. Make an effort to get out and talk to your peers at festivals, parties, screenings and whenever possible.
