My first pass would normally be fairly close to the script, but I’d also have some alts prepared to show. The scripts were so hilarious to start with, but our cast are amazingly talented improvisers, so there was always tons of improv and alternate takes to play with, which gave us plenty of room to make different choices than what was scripted. The overall direction from Robin was to always push the comedy as much as you can and make the funniest sketch possible. What direction are you typically given for the edit? It was a very fun, collaborative process of trying to make each other laugh. Steph, Taylor and I would often share our cuts with each other while we were working on them to see what jokes were landing and offer suggestions to amp things up. That really makes a sketch feel full of life and encourages the people to go back and watch again to pick up on those little things they may have missed the first time. You’re always looking for moments to add reactions or lines from characters off camera that the viewer might not notice on their first watch. Robin loves a super-tight edit with hardly any air between lines, so sketches move at a blistering pace. How do you find the “funny” or enhance it in the edit? With so many different stories, you must get to play with a lot of different pacing. Once all the sketches were shot and cut, we would then work on building the episodes, seeing what sketches made the most sense together. ![]() So it was easy to pivot from cutting our Bridgerton-style sketch, “Frock of Shit” one day, to our murder podcast, “Fresh To Def,” and then the hilarious Telenovela, “The Bold and The Cubicle.” I was already used to switching from a survival show, like Naked & Afraid, to a competition show like RuPaul’s Drag Race All Stars and then changing it up again with a thriller independent feature like Confessional. It was definitely a challenge, but I think my experience in a wide variety of genres and formats across scripted and unscripted TV and features was an asset. ![]() This season we had three editors - myself, Stephanie Filo and Taylor Joy Mason - and we would each take a new sketch as we finished our last.Įvery few days we would be jumping into a completely new world and have to figure out the specific style, music and pacing for each one. The post process for A Black Lady Sketch Show is a little bit different than on other narrative shows, since each sketch is its own standalone world. ![]() We reached out to Zehner Guerra, who was nominated for an Emmy Award for editing the show, along with supervising editor Stephanie Filo, ACE, and Taylor Joy Mason, ACE, to find out more.
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