Slowing Down and Making You Feel: Editor Gege He On The Art Of Drama

In today's fast paced world we often forget to enjoy the things that take time to develop. With constant access to media, scrolling and short form content has become a massive part of our lives. However, the best films still rely on emotional connection, drawing their viewers in by playing out the drama. This is the preferred style of editor Gege He who has always been drawn to the realism in drama. Gege, editor of short films Daffodils in December, Eyes Like Yours, and A Shade of Red, prioritizes collaboration on set and audience appreciation on the big screen.

The award winning editor has seen her projects on screen at the famous TCL Chinese Theater, one of the largest screens in America. We sat down with her today to discuss the role that editors have on the final feel of a movie. She uncovers some editing secrets and discusses her industry mentors and idols. Gege’s films have been aired at festivals around the country such as the Seattle film festival, HollyShorts film festival, and Cannes Indie Shorts Awards Festival, and it was nice to sit down and get some industry insight on how a movie comes together from an editing point of view.

How did you become interested in film editing?

Gege He: Honestly, I got into film editing at a very young age. I would often watch films and imagine a different ending, or wish for the story to have focused on a character that I loved. I would even think about altering the direction of particular scenes. Sometimes I’d hear a song, and think of a film and realize how perfectly they matched. I was in those moments that I would create my own version of a film editing it in my own vision. I’ve always loved to create, but due to my introverted nature, I felt like directing wouldn’t be the right fit for me. So, I decided to try out editing and when I first sat down in a professional editing suite, I realized I had found my comfort zone. It was a place to quietly think, completely focused in the dark, immersed in the creative process.

Were you always drawn to drama? Is it your preferred genre to watch?

Yes, drama has always been my favorite drama. In particular I love slow-paced drama, whether to watch or to work on. I have always found myself deeply moved by the realism of stories, characters, and emotions. They say “art comes from life” and I believe that to be true, as I find I project myself onto these characters and through the details in drama films see reflections of my own life.

Discuss your role in the emotional impact of a film

Walter Murch’s Rule of Six (a list of criteria used in editing) prioritizes emotion above all else. As such in my role as an editor I shape the emotional rhythm of a film. Every cut, every pause and every frame choice influences how an audience will feel at a given moment. A scene can change from heartbreaking to hopeful depending on its pacing, how long a shot lingers, or when a silence is allowed to breathe. My role involves working closely with the director to find the emotional truth in each moment. This could mean amplifying the tension, deepening intimacy, or simply letting the performance shine. The goal is to always make the audience feel something genuine, to connect them to the story in a way that stays with them long past the credits.

When we watch a film, the acting and directing are put on display for us, but the role of the editor is equally as important. How do you help drive a project's vision?

One of my biggest responsibilities as an editor is to highlight the acting and directing in the best way possible. Each scene has multiple setups, and each set up can have multiple takes, sometimes even dozens, and in each take there may be minute differences in the director’s blocking or the actor's performance. It is my job as the editor to use my judgement to decide which angle, shot, or performance best showcases the director’s or actor’s work. Sometimes, we have limited coverage and I need to modify the length of shots, or change their order to eliminate any weak parts in the performance or blocking, ensuring that the flow remains smooth.

What are some of your favorite films and what speaks to you about them specifically?

One of my favorite movies is “Aftersun”, directed by Charlotte Wells. The film’s portrayal of a father struggling with depression resonates with me through my own experiences with my father who always wore a mask to hide his pain. The raw depiction of familial relationships touched the depths of my heart, and reminded me of the power of storytelling to illuminate the darkest corners of the human experience while also capturing the complexities of life with authenticity and simplicity.

Another one of my favorites is “Portrait of a Lady on Fire”. As a queer woman, I’ve had similar heartbreaking experiences, so I can really relate to the story. The director’s use of the female perspective to explore subtle emotions, made the characters and story feel incredibly vivid. I was also blown away by the cinematography and found myself accompanying the characters on a small, yet profound journey in their lives. Every time I revisit the film I notice new layers and details, and to me that is the mark of a well-crafted piece of work that’s worth revisiting.

Is there a time period of films that stand out to you for the way they were shot or edited?

Absolutely! To me the 1970s stand out as a golden era for both cinematography and editing. It was a time of bold, experimental storytelling, where filmmakers weren’t afraid to take risks. Editors like Dede Allen (Bonnie and Clyde, Dog Day Afternoon) and Walter Murch (The Conversation, Apocalypse Now) revolutionized pacing and montage, using jump cuts, overlapping dialogue, and unconventional rhythms to heighten tension and emotion.

What makes the 1970s so inspiring to you?

For me it’s the freedom that editors had to experiment. It was an era where pacing wasn’t dictated by formulaic studio structures but by the emotional psychological needs of the story. They used silence, abrupt cuts, and unexpected juxtapositions to give the films a visceral, lived in quality. Their films trusted the audience to engage with the storytelling on a deeper level. The philosophy of the 1970s filmmaking still influences my approach to editing today.

How is editing a short different from a feature?

The production timeline and budget for the two differ drastically. This leads to a different post production process for both. For feature films there is enough room to experiment as well as the time needed to carefully refine each shot. If we run into an editing issue, there might even be the option to shoot pick-up shots. For example, when I was editing No-see-ums, upon finishing the director’s cut we realized that the pacing wasn’t quite right, so we filmed an entirely new opening scene. This scene ultimately solved a lot of problems, and this kind of flexibility is quite common for features.

On the other hand, with short films, you don’t have that sort of luxury. In order to fix issues, you have to rely on editing techniques like cutting to a reaction shot of another character, inserts, or sometimes even using re-recorded lines. So, for me, the challenges between the two are quite different. A feature film could stretch on for months, and can lead to fatigue looking at the same footage for an extended period of time. But with a short film there is a priority on editing efficiency and strong problem-solving skills.