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But, he adds, вЂњI missed being able to pop in next door and walk up the corridor and have a chat or to get people in to review scenes together.вЂќ After locking a couple of episodes, Covid-19 lockdowns took effect and editing operation went remote, with the team liaising over Zoom.ДЇortunately, says Dwelly, the team had been working together for several months by that point, so the creative relationships had been established. The edit started at DMR Film Ventures in Fitzrovia, moving on to The Farm GroupвЂ™s Uncle facility after Christmas 2020. Underlining the teamwork involved, Bensley says: вЂњI started on two episodes and finished on two different ones.вЂќ The episodes are fairly breathless.вЂќД«y the end, each of the editors focused on a number of episodes each, but one gets the impression that the work was fluid to begin with вЂ“ particularly at the assembly stage. вЂњMichaelaвЂ™s writing lends itself to things being quite fast and as the editing style slightly shifted, that became more apparent вЂ“ how fantastic her scripts were and how fast they were.

вЂњThereвЂ™s lots to fit into a 30-minute episode,вЂќ says Dwelly. Of course, the team also took inspiration from CoelвЂ™s scripts. ThatвЂ™s a lovely environment to be inвЂ¦ it felt that we were all on a mission but in a positive way.вЂќ Hounsell explains that the editing team were encouraged to вЂњjust be really bold and to be unafraid to present ideas we had.вЂќ She speaks of the вЂњlovely encouragement from Michaela and (co-director) Sam (Miller) to just go crazy and present what we feel is best. ThatвЂ™s what gives it its special quality.вЂќ In fact, Bensley says that what makes I May Destroy You stand out is вЂњthe Michaela-ness of the whole thing. ThereвЂ™s a tendency for showrunners to not necessarily be a benefit to our working lives. You could share anything,вЂќ says Woodward.Д«ensley is in agreement: вЂњShe was just a great presence overall in the editing process.

вЂњMichaela wasnвЂ™t precious вЂ“ she was very open to anything that we would try, which was great. вЂњWe had a huge amount of creative freedom вЂ“ there wasnвЂ™t anything that wasnвЂ™t allowed, as long as it was serving the story, the characters and what Michaela wanted to achieve,вЂќ says Dwelly. This was particularly the case when the shoot finished, and Coel herself started coming to the cutting rooms. There was nothing that we werenвЂ™t allowed to try.вЂќ вЂњThe brakes were taken off,вЂќ says Dwelly. Secondly, they praise the creative freedom that Coel gave them during the edit. вЂњIвЂ™ve worked in groups before, but never one that was so collaborative and such a sharing group,вЂќ says Bensley. вЂњWe were sharing ideas all the time,вЂќ says Woodward. At times experimental, dynamic, and abrasive, the edit carefully balanced serious drama with dark comedy.ДЄ couple of things quickly become apparent when talking to the six editors of I May Destroy You вЂ“ Guy Bensley, John Dwelly, Amy Hounsell, Mike Phillips, Christian Sandino-Taylor and Lindsey Woodward.ДЇirstly, it was very much a team effort.

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It was as the team got bigger that I May Destroy You found style in the edit, marrying music and moving image to take the series to new heights. The editing team for I May Destroy You started small but expanded to six people to help Michaela CoelвЂ™s complex and experimental show to find its distinctive tone and shape in the edit.ДЄ 12 x 30-minute series, each of the episodes were like mini-films, with their own identity and structure.ДЄfter a quite traditional initial edit which focused on assembling the story together, there was a distinct shift as more people joined and there was more time and space to play with key scenes.

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See the full Inspirations magazine, available to read in full online here, for more.

The editing team behind Michaela CoelвЂ™s multi-award winner, I May Destroy You, explain how they helped make the show a cut above the rest. As part of the recent Televisual Bulldogs Awards, we asked the winners of each category to tell us the story behind making their show the standout success that it became.

That i may destroy you