Olivia Eliseo is a Los Angeles-based movie and tv editor who fell in love with the craft after discovering easy methods to edit her household’s VHS tapes. Her work has performed at a number of festivals, together with SXSW, Tribeca and Slamdance. Eliseo loves exploring complicated, character-driven tales in all genres and at all times seeks to maintain the viewers emotionally invested.
Most not too long ago Eliseo lower the function Experience or Die, which premiered on the 2025 Tribeca Movie Competition. Within the movie, Paula (Briana Middleton), a younger Midwesterner who desires of a contemporary begin in California, runs into Sloane (Stella Everett), her secret highschool crush along with her personal demons. There may be chemistry between them, and what begins as an off-the-cuff reunion between two highschool classmates shortly evolves into one thing deeper once they spontaneously determine to take a cross-country street journey collectively.
We talked with Eliseo (pictured) about her workflow on the movie.
How early did you get entangled? If early, how did that assist?
I spoke with the author/director, Josalynn Smith, a number of days earlier than the shoot. It gave me the chance to make clear any narrative questions I had and have a deeper dialogue in regards to the script earlier than manufacturing started.
How did you’re employed with the director? How usually have been they taking a look at your lower?
One of many greatest benefits of being introduced on early within the course of was the flexibility to edit scenes in actual time. I obtained proxy footage day by day, which allowed me to assemble scenes shortly and share them with Josalynn earlier than the staff moved on from every location. This workflow was extremely useful for each of us as a result of it ensured that nothing was ignored whereas maintaining manufacturing on schedule as they road-tripped from state to state. We additionally used Body.io to add dailies and cuts so Josalynn might depart suggestions through the shoot itself.
Was there a specific scene, or scenes, that have been most difficult? And why?
Essentially the most difficult (and enjoyable!) scene to edit was when Paula (Briana Middleton) and Sloane (Stella Everett) are trapped within the automobile with Anthony, performed brilliantly by Cody Kostro. I particularly beloved Arlene Muller’s cinematography on this scene. There’s a lot kinetic concord between the digicam and the performances. I needed to protect that rawness and current it in a approach that will permit the viewers to turn into emotionally invested within the characters. The suspense, stress and gory twist on the finish of the scene made it a pleasant problem to edit.
Did you do greater than edit on this movie?
Along with modifying, I loved enjoying with the temp sound design and supply cues all through the movie. Every location within the movie has its personal distinct sonic identification, and people soundscapes performed an important position in shaping the story’s environment. Josalynn and I additionally had a good time choosing supply music for the automobile radio and integrating these cues into the driving montages, which helped improve the rhythm and emotional tone of the journey.
What was the flm shot on?
An ARRI Alexa Mini framed for 1.85×1.
Are you able to discuss your modifying workflow?
My important purpose because the editor is to at all times maintain the viewers emotionally linked to what’s occurring on the display. Josalynn Smith and Alicia Louzoun-Heisler’s writing introduced out such uncooked, genuine performances from the solid, and I needed to make sure that viewers not solely sympathized with our leads but in addition felt like they have been proper there with them on the street journey. When approaching a scene, I often begin by figuring out which character serves because the emotional anchor, and I take advantage of that as a suggestion for easy methods to construction the sequence.
What system did you utilize to chop?
I edited the movie utilizing Adobe Premiere Professional, largely due to its intuitive interface and seamless integration with different Adobe applications. My improbable assistant, Natalie Henderson, arrange our mission utilizing Premiere’s Productions function, which made it attainable for us to collaborate inside the identical mission concurrently.
How did you handle your time?
I tackled probably the most complicated or emotionally demanding scenes earlier within the day after I felt the sharpest. If I ever bought caught on a scene, I’d shift to a different sequence and revisit the trickier one later with contemporary eyes. That rhythm actually helped me keep productive whereas maintaining the edit transferring.
“Experience or Die” Premiere timeline
How do you handle producers’ expectations with actuality/what can actually be performed?
I at all times begin by ensuring I totally perceive the producers’ artistic targets and priorities. From there I will be trustworthy about what’s practical inside the time and assets that we have now. If one thing isn’t working or isn’t attainable, I attempt to provide you with various options that may nonetheless work narratively.
How do you are taking criticism (good and unhealthy)?
I feel it’s necessary by no means to take criticism personally and as a substitute use it as a jumping-off level for a constructive dialog. Understanding what didn’t work for somebody and why opens the door to deeper collaboration. At all times strive the word and be open to concepts — you by no means know what is going to spark an thought.
When somebody who’s beginning out asks what they need to study, what do you advocate?
Above all, learn to successfully inform a narrative. Anybody can study the technical facet, however growing your instincts as a storyteller and problem-solver is what really units an editor aside. On the finish of the day, you’re being employed on your perspective. With the ability to confidently provide artistic options is what earns belief and retains you within the chair.
