Consulate’s Jeremy Maneval on the Nuance of Editing, Finding Stillness, and the Creative Projects That Inspire Him

Known for his work across the fashion and music industry, Consulate editor Jeremy Maneval shares with us his love for Thelma Schoonmaker, editors who establish a language of their own, and buzzy C words...

Who are three contemporaries that you admire?
I admire editors who can establish a language of their own, outside of current tropes, and bring their own style/rhythm to the edit.

Jennifer Lame and her edits for Christopher Nolan. It’s interesting how their shorthand started during the pandemic with Tenet. Working in separate rooms, over the phone, seems to have actually brought them together. Without Nolan standing over Lame, it left more room to experiment. That trust is really freeing; it’s that trust that builds bonds.

Shane Reid. I think it’s the evolution of his career, moving from the edit desk to the director’s chair. Creating from what you have on some projects and shaping the edit before receiving the footage on others. On Deadpool & Wolverine, he received the pre-vis for some large action sequences and then had the ability to go to set to ask for more. Digging into the scene to make it better through picture and sound.

More on shots!