EVERYTHING IS EDITING:
BILL RUSSO ON BLUE MURDER,
INTUITION & THAT SMALL DARK ROOM
At the beginning of his short course, "The Art of Editing", Bill Russo asks the class a deceptively simple question: "Who does the editor work for?" "The director?" one student calls out. "The audience!" volunteers another. "The executive producer?" Bill shakes his head. "The story! Anyone not working for the story is working for themselves. You're on an ego trip and not doing a very good job."
The class is slightly chastened, but it's difficult not to be swayed by Russo. He marries twenty-five years of hands-on experience with a passionate eloquence and a far-reaching curiosity. These qualities mark him as a member of a rare breed: a great practitioner who is also a great teacher.
One of the first editors to be accredited by the Australian Screen Editors Guild, Bill Russo's
