She’ll Fix It in Post: An Interview with April Merl
She doesn’t just edit. She rearranges time.
April Merl came to filmmaking through the back door — production accounting by day, AVID experiments by night — until one fateful lesson reminded her what she really loved: cutting, shaping, and uncovering the hidden rhythm beneath the surface.
In this interview, April talks about the art of invisible editing, collaborating with trust and chaos, and why every great cut begins with letting go of perfection. She shares how roller skates, cartoon post-its, and dishwashing breaks all find their way into her creative process — and why First Word on Horror became a dream project she’ll never forget.
Get to know the mind behind the timeline.
What first sparked your interest in editing, and how did you get started in the field?
I actually started out in film in the production accounting office - while interning on my first indie film I was offered a job as an assistant accountant, how could I say no? I didn’t have ambitions in movie accounting, but ended up in that office for quite a few years. I was starting to feel like it was the wrong direction for me and asked an editor friend some questions about AVID and he ended up teaching me how to use one - I’d forgotten how much I loved the process of cutting and taping film together, which I’d done on the Steenbecks in film school, and it all clicked into place. And then I had the luck of getting to assist under Kurt Engfehr, who had done Bowling for Columbine and Fahrenheit 9/11, and with him I really learned what editing is all about (and I’m forever grateful to him for also trusting me in my first lead editing position when he co-directed The Yes Men Fix the World.)
Can you describe your editing process when you start working on a new project?
I have a cartoon by Austin Kleon above my desk that says “It doesn’t matter if it’s good right now, it just needs to exist,” and that is how I start every project. On the more practical side, I do like to watch every frame that comes in because you never know the little piece of magic hiding in the heads and tails of shots, that certain look that says everything or funny outtake that suddenly feels like it should actually be in the project instead of on the cutting room floor.
How do you collaborate with directors and other team members to ensure the final product matches the vision?
The collaboration part of editing is my favorite part! I’m always throwing spaghetti at the wall in my early edits, and the fun part is hearing what stuck and what didn’t - and best is the thing that sort of stuck but it’s hanging there uncomfortably and then the director or producer (or assistant editor, anyone!) says that just right thing and we can get it to actually work instead of sort of work. I loved Barbie for this - there are so many funny ideas all over the screen, I could just feel how fun post must have been.
And about matching the vision, that’s everything. Editing is a huge responsibility, you’re holding the work of so many people in your hands - the actors (or the subjects in a documentary), the DP, the Production Designer, Costume Designer, Hair, Makeup, the Writers, really everyone - everything in post is done in hopes that you can help the director achieve the vision and also present all of the hard work the whole team did to achieve that vision, and all of these things in the very best way. So, like, no pressure.
How do you balance technical precision with creative freedom when working on a project?
You can’t not balance them - they’re hand in hand, but it’s all how you use them together. Like if you can’t technically pull something off, maybe you can creatively find another way to achieve a similar result. And sometimes having the technical knowledge opens up a different creative option.
How do you handle tight deadlines or high-pressure situations during the editing process?
Deep breaths and as much laughter as possible.
Do you have any favorite editing techniques or tricks that you love to use in your work?
Here’s a weird answer - the technique I use the most is scheduling a break in the middle of my day to do something else (take a walk, do the dishes, shower) so that I can think about the edit while doing that other activity. It works every time to get me unstuck and figure out the way in or around or through the edit that I’d been missing.
In your opinion, what makes a great edit stand out in a film or project?
When the editing feels invisible. I’ve just gotten around to watching The Pitt, and the editing on that series is so good- there is so much work being done, but I never think about it because it’s keeping me on the edge of my seat in the drama of the scene. But don’t get me wrong, I also love an epic edit with stuff that you can’t help but notice because it’s so smart or stylish - the Beastie Boys Sabotage music video comes to mind here, genius editing that rides that line between noticeably stylish and invisible (and just the most fun ever?).
What’s one project you’ve worked on that you’re particularly proud of, and why?
I tend to become the biggest fan of every project that I’ve worked on, but two come to mind - Salt in My Soul is a documentary I edited with Will directing, and the final product still makes me feel all the feels - it’s about a woman who died from complications from cystic fibrosis, and we were given incredible access to her writings, audio recordings, and personal videos. A huge responsibility, but incredibly proud of the work we did. And First Word on Horror really was a dream project - when will I ever get to combine my documentary background with narrative and animation and finding weird archival all in one show again? Plus getting to listen to that caliber of writers talk about their lives and their craft… seriously, heaven.
How do you stay inspired and continue to grow as an editor, both personally and professionally?
Watching both great and terrible movies and shows. Keeping up on the latest news about new software and gear, but with the caveat that fancy gear does NOT make you a better editor. Reading everything I can get my hands on (graphic novels in particular are so cinematic). And I also like to make space to do something just for me - I made an animated short, Deep Field , a few years ago, and that process taught me so much while also being so creatively fulfilling.
What advice would you give to someone starting out in the editing field?
A few things: Edit everything you can. Say yes to every idea, even the ones you think are terrible, and do your best to make it work (this works two ways - you’ll either surprise yourself, or you’ll know for sure that it doesn’t work.) Honestly, it’s really really tough right now, there are so many changes happening in our business, so another thing is that flexibility is important - there is a balance to find between the projects that are creatively your first choice and the ones that will help you pay your bills, make sure you do both kinds and really appreciate the ones that are both at the same time - and again, you might surprise yourself with how the ones that are more in the help pay the bills category also help make you stronger at the craft.
What films or TV are your favorites?
There are too many. Do the Right Thing made me want to work in movies. Flea Bag might be the perfect television show. I wished I’d worked on Everything Everywhere All at Once. I’ve lost count of how many times I’ve watched Spiderman: Into the Spiderverse. Sarah and Duck is my absolute favorite kids show even though I’ve only ever watched it as an adult (and still will at the end of a hard day.) I’m obsessed with Yellow Jackets. Also Stranger Things, but I have notes on Season 4, though still very excited for Season 5. (Also saw Stranger Sings off-Broadway and Stranger Things First Shadow, so, well, yea.) The Princess Bride, just always and forever? Star Wars episodes 4-9 also always and forever. Singin’ in the Rain is a classic. As is The Apartment. The Matrix, of course. Eternal Sunshine of the Spotless Mind is brilliant Gondry (and the Ghostbusters reenactment in his Be Kind Rewind is one of my favorite scenes ever.) I am constantly recommending Train to Busan to everyone - that one has one of my favorite opening scenes ever and I just love that movie. (I could go on, I know I’ve missed some…)
Any fun facts about yourself you can share?
I started roller skating regularly a few years ago (last time I’d done it was in junior high?) and the terror and joy of being on 8 wheels is now my happy place.
Editing isn’t just about knowing where to cut. It's about knowing what to hold. And April holds a lot: tension, truth, humor, heartbreak, and all the strange, staggering moments in between.
We’re beyond lucky to have her shaping the stories we tell.
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