Film editing might seem like the perfect gig for people who thrive in solitude and prefer to work alone, but Connelly says that’s a common misconception. “In fact, editors are in constant communication with the other filmmakers, and it’s a huge part of the job.”
Throughout the production of Four Good Days, Connelly and her assistant editor, Alyssa Carroll, were in constant communication. While Connelly cut scenes, Carroll was organizing footage and developing the temporary VFX & sound design. They communicated with several people on the set such as the Script Supervisor, DIT, and Dailies Operator, all while keeping writer/director Rodrigo Garcia and producer Jon Avnet apprised of their progress.
“As an editor, you communicate with several other post departments such as sound, music and visual effects, often relaying the director’s thoughts and collaborating with them,” she says. “With a tight post schedule, good communication is key to getting the cut out on time.”
Known for her work as an editor of TV series such as A Million Little Things, The Strain, and Masters of Sex, Connelly first became involved in the production of Four Good Days when Garcia and Avnet sent her the script.
“I knew it was a special film,” she says. “The beauty of film and television is its innate ability to open our eyes and hearts to what other people are going through, and to tell stories that bring out our compassion and understanding,” says Connelly. “The opioid and homelessness crisis in this country is such an important conversation to be having right now. To me, this film brings that conversation out of the abstract.”
Inspired by the Washington Post article by Eli Saslow, Four Good Days puts a human face to the crisis, says Connelly: “Not only the impact it has on those struggling with addiction, but also the people who love them. The film is a beautiful tribute to the relationship between mother and daughter, one that’s full of love, struggle and hope.”
Having a chance to tell those kinds of stories is what inspires Connelly. One thing she loves about film editing is that it’s “the perfect combination of storytelling and technology.” And new advances in technology are giving filmmakers more ways to tell their stories.