{"id":12058,"date":"2026-11-04T04:01:13","date_gmt":"2026-11-04T03:01:13","guid":{"rendered":"https:\/\/www.brokenmount.com\/bm\/2026\/11\/04\/how-to-cut-a-fable-editing-wicker\/"},"modified":"2026-11-04T04:01:13","modified_gmt":"2026-11-04T03:01:13","slug":"how-to-cut-a-fable-editing-wicker","status":"publish","type":"post","link":"https:\/\/www.brokenmount.com\/bm\/2026\/11\/04\/how-to-cut-a-fable-editing-wicker\/","title":{"rendered":"How to Cut a Fable: Editing &#8216;Wicker&#8217;"},"content":{"rendered":"<div><img decoding=\"async\" src=\"https:\/\/nofilmschool.com\/media-library\/wicker.jpg?id=68584029&amp;width=1245&amp;height=700&amp;coordinates=0%2C0%2C0%2C0\"><\/p>\n<p>How do you edit a film that blends fantasy, comedy, romance, and the structure of a fable? Editor Sofi Marshall returns to the <a href=\"https:\/\/nofilmschool.com\/podcast\" target=\"_blank\">No Film School Podcast<\/a> to discuss her work on <em><em>Wicker<\/em><\/em>, starring Olivia Colman and Alexander Skarsg\u00e5rd and directed by Alex Huston Fischer and Eleanor Wilson. <\/p>\n<p>Marshall joins host GG Hawkins to break down the challenges of finding the film&#8217;s distinctive tone, cutting comedic performances, and building a collaborative post-production workflow across three continents. <\/p>\n<p>She also shares how Adobe Premiere Pro, LucidLink, and Frame.io helped streamline the editing process, why practical effects made a difference in the cutting room, and what emerging editors should consider when choosing projects, negotiating budgets, and balancing their careers with life outside the industry.<\/p>\n<h3><\/h3>\n<p><iframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https:\/\/playlist.megaphone.fm?e=NFS4634512238\" width=\"100%\"><\/iframe><\/p>\n<p><strong>In this episode, we<\/strong><strong> discuss:<\/strong><\/p>\n<ul>\n<li>How editing <em><em>I Saw the TV Glow<\/em><\/em> influenced Sofi&#8217;s career and brought greater visibility to her work<\/li>\n<li>Why storytelling remains the foundation of editing, even as technology makes the process faster<\/li>\n<li>Reuniting with directors Alex Huston Fischer and Eleanor Wilson for <em><em>Wicker<\/em><\/em> after collaborating on <em><em>Save Yourselves!<\/em><\/em><\/li>\n<li>How Alexander Skarsg\u00e5rd&#8217;s practical wicker costume shaped the editing process and preserved his performance<\/li>\n<li>Finding the right balance of fantasy, comedy, romance, and fable-like storytelling in the edit<\/li>\n<li>Managing a remote post-production workflow between New York, Budapest, Los Angeles, and Australia<\/li>\n<li>Why comedy editing requires extensive experimentation, recutting, and test screenings<\/li>\n<li>Collaborating with directors on alternate cuts and discovering creative solutions through multiple perspectives<\/li>\n<li>Using chapter breaks to establish the distinct movements of <em><em>Wicker<\/em><\/em><\/li>\n<li>How Adobe Premiere Pro, LucidLink, and Frame.io improve remote collaboration, feedback, and editorial efficiency<\/li>\n<li>Choosing creatively fulfilling projects, advocating for fair compensation, and avoiding burnout in independent filmmaking<\/li>\n<li>Navigating parental leave, career opportunities, and returning to editing after time away<\/li>\n<li>Sofi&#8217;s next editing project, <em><em>Thirsty Girl<\/em><\/em><\/li>\n<\/ul>\n<div><\/div>\n<p><strong>Guest:<\/strong><\/p>\n<ul>\n<li><a href=\"https:\/\/www.imdb.com\/name\/nm3629058\/\" target=\"_blank\">Sofi Marshall<\/a><a href=\"https:\/\/www.imdb.com\/name\/nm4075002\/?ref_=tt_ov_1_1\" rel=\"noopener noreferrer\" target=\"_blank\"><u><\/u><\/a><\/li>\n<\/ul>\n<div><strong><\/strong><\/div>\n<div><strong><\/strong><\/div>\n<h3><\/h3>\n<p><\/p>\n<p><strong>Subscribe to the No Film School Podcast on:<\/strong><\/p>\n<ul>\n<li><a href=\"https:\/\/podcasts.apple.com\/us\/podcast\/the-no-film-school-podcast\/id1078804724\" rel=\"noopener noreferrer\" target=\"_blank\">Apple Podcasts<\/a><\/li>\n<li><a href=\"https:\/\/open.spotify.com\/show\/1vfyZ6hx3QJWS6etdDZZ5V\" rel=\"noopener noreferrer\" target=\"_blank\">Spotify<\/a><\/li>\n<li><a href=\"https:\/\/podcasts.google.com\/feed\/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vTk5MTEMzMjI5NDg4NTcz\" rel=\"noopener noreferrer\" target=\"_blank\">Google<\/a><\/li>\n<\/ul>\n<p>Get your question answered on the podcast by emailing <a href=\"https:\/\/nofilmschool.com\/2025\/06\/editor@nofilmschool.com\" target=\"_self\">podcast@nofilmschool.com<\/a><\/p>\n<h3><\/h3>\n<p><\/p>\n<p>\n<em>Listen to more episodes of the No Film School podcast right here:<\/em>\n<\/p>\n<p><iframe loading=\"lazy\" frameborder=\"0\" height=\"482\" src=\"https:\/\/playlist.megaphone.fm?p=NNLLC3229488573\" width=\"100%\"><\/iframe><\/div>\n<p>Author: GG Hawkins<br \/>\nThis article comes from <i>No Film School<\/i> and can be <a href=\"https:\/\/nofilmschool.com\/how-to-cut-a-fable-editing-wicker\" target=\"_blank\"><b>read on the original site.<\/b><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>How do you edit a film that blends fantasy, comedy, romance, and the structure of a fable? Editor Sofi Marshall returns to the No Film&hellip;<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_customify_content_layout":"","_customify_sidebar":"","_customify_page_header_display":"","_customify_disable_header":"","_customify_disable_header_top":"","_customify_disable_header_main":"","_customify_disable_header_bottom":"","_customify_disable_page_title":"","_customify_disable_content_vertical_padding":"","_customify_disable_footer_top":"","_customify_disable_footer_main":"","_customify_disable_footer_bottom":"","_customify_breadcrumb_display":"","_customify_header_transparent_display":"","footnotes":""},"categories":[35],"tags":[38,37,43,42,39,40,44,41,36],"class_list":["post-12058","post","type-post","status-publish","format-standard","hentry","category-video-news","tag-editing","tag-film","tag-guide","tag-info","tag-news","tag-tips","tag-topics","tag-tricks","tag-video"],"rttpg_featured_image_url":null,"rttpg_author":{"display_name":"Brokenmount","author_link":"https:\/\/www.brokenmount.com\/bm\/author\/sysop\/"},"rttpg_comment":0,"rttpg_category":"<a href=\"https:\/\/www.brokenmount.com\/bm\/category\/video-news\/\" rel=\"category tag\">Video and Film News<\/a>","rttpg_excerpt":"How do you edit a film that blends fantasy, comedy, romance, and the structure of a fable? Editor Sofi Marshall returns to the No Film&hellip;","_links":{"self":[{"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/posts\/12058","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/comments?post=12058"}],"version-history":[{"count":0,"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/posts\/12058\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/media?parent=12058"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/categories?post=12058"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/tags?post=12058"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}