Papercut's John Resner Talks Primal Storytelling Instincts in “Finely Sliced” for LBB

John Resner got into editing because it let him do what he already loved – spend hours alone in a poorly lit room. He thinks of the job as a funnel: every problem a production hits lands in the edit as a tangled mess in your lap, and the fun is untangling it until it makes sense.

He came up under heavy hitters like Andrea MacArthur and Andre Betz. His first Wieden+Kennedy job set the bar – a Jordan spot cut during the 2011 NBA lockout, which New York Magazine called "lowbrow genius". When the shoot got cut short, he combed every frame until he found shots that looked entirely intentional. The lesson stuck: watch everything.

Since then, John has cut for Nike, Heineken, Delta, Gatorade, ESPN, Bank of America, and LOUIS XIII, among others, favouring a true push-pull with directors over hovering or hands-off.

He's found a company he calls genuinely talented, kind, and humble. He feels right at home at Papercut – a studio as creatively sharp as its name implies.

John sat down with LBB to share his advice for those starting a career in the editing suite, moments where the magic of the edit begins, as well as his proudest work.

LBB> The first cut is the deepest: how do you like to start an editing project?

John> Well, I love to cook. Like mise en place – a fancy way of saying 'get your sh*t together' – editing requires an organised, uncluttered space. I start with a clean workspace, prepped ingredients, and a sharp knife.

Producers and AEs help by managing the onslaught of assets and setting the editor up in the most logical way. Then, you throw it all in a pot and start a slow boil, until only the tastiest bites remain. And just like cooking, you add a bit of this and a bit of that, and taste and adjust. But you don’t want to overcook your dish, like I have with this metaphor.

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