Though I’m directing for the first time, I have spent a lot time in editing rooms–for Police Beat, Zoo, North American, and You Can’t Win. They are the trenches of a film project. A movie wins or loses in the editing room. No matter how good the acting, photography, or direction, the work will implode without a great editor. This is why I’m extremely pleased that Celia Beasley will be Thin Skin‘s editor. Her work on SJ Chiro’s Lane 1974 convinced me she was the one. My eye could not find one scene in that period film that began and ended in the wrong place. And its rhythm is solid. An editor must have a good ear, and I could see in Lane 1974 that its editor has the ear I was looking for. Beasley also edited Megan Griffiths’ chilling The Night Stalker and her upcoming film Sadie.