In the Award-Winning Horror Flick, The Skin, Film Editor Wang Aimed to Subvert Expectations
“From my perspective, making a joke work involves setting up an expectation for the audience and then breaking it at the right moment. This process is quite similar to horror; the only difference lies in the materials used to subvert expectations.” — Film editor Zekuan Wang
What a fascinating observation and insight into filmmaking.
Indeed, for Film Editor Zekuan Wang, subverting expectations and then making the reveal, whether for horror or comedy, is a key element in the storytelling process that editors play.
Wang, who edited the horror and award-winning feature The Skin which earned the best foreign language feature at the Hollywood Horror Fest, enjoys trying out different ways to add suspense, explaining, “In my view, suspense is meaningless without a reveal. In horror, tension often arises when expectations are subverted. To enhance suspense during editing, I tend to stretch shots to the point where the performance can no longer sustain the tension. I let the music creep in subtly and release the tension with a false reveal, only to deliver the actual truth when the audience least expects it. This technique keeps viewers on edge and heightens the impact of the true revelation.”
Wang, who first majored in cinematography and filmmaking at the Beijing Film Academy, and then focused on editing at the American Film Institute in Los Angeles, has also worked on suspenseful thrillers like the dramatic heist short move Washed Up which was officially selected by Burbank International Film Festival, Panic Fest, and Chattanooga Film Festival. But his first thriller was Dark Frequency, and he recalls:
“A psychological thriller, the story of Dark Frequency revolves around an old man who overhears a crime through his radio. He attempts to convince others about what he heard, but no one believes him, leading him to question his own sanity. Similar to Washed Up, I joined the project when there was only an initial idea for the story. It was my first time editing a psychological thriller, so my goal was to explore different approaches to creating suspense and tension.”
Wang, who has edited on features, shorts and also vertical series, admits to wearing many hats when he started out as a filmmaker, and he now credits that experience with reinforcing what he offers: “My experience as a cinematographer, director, and screenwriter may not have given me the full capability to create a story from start to finish, but it has equipped me to accurately identify narrative issues within a script, as well as assess the feasibility of its content and offer editing solutions.”
— Many of the Oscar Best Picture movies also earn Best Editing — how does editing enhance a project’s storytelling?
— For example, imagine two kids chatting in a dark, cramped space. A loud, dull noise from outside doesn’t disturb their fun. Suddenly, after a violent shake, a bottle of milk falls and spills all over them. Now we realize they’re in a fridge, and outside lie two bodies covered in blood amidst the debris of a destroyed house. With the sound of a cannon, more debris falls, and everything fades to black. Now, how do we present this on screen? Do we start by showing the chaotic surroundings, immediately building tension and making the audience worry about the kids? Or do we focus on the kids playing first, letting the audience connect with them and get drawn into their conversation, only to later reveal the danger outside? As editors, our job is to make decisions about what to show and when to show it. These choices can completely change the story, even when the material remains the same. The example I mentioned — which is essentially a version of Alfred Hitchcock’s “bomb-under-the-table” theory — illustrates how critical editing decisions shape a narrative. That’s an example on a larger scale, usually made in collaboration with the director and writer. But on a more granular level, editors constantly make decisions that influence how the story unfolds.
— Do you work with the music composer to add to tension on a thriller project?
— Like many other editors, I typically start by using temporary music from other films to establish the tone. Once the composer comes on board, I ensure they understand my intentions and motivations for each piece I selected, clarifying my perspective on the story. However, I try not to involve myself too much in this phase, as my close engagement with the project can lead to a limited perspective. Allowing others to contribute their own interpretations often enhances the story.
— Generally, what did you bring to a thriller like Washed Up, and how did you aim to increase tension?
— The goal my director shared with me was to create a viewing experience that felt akin to being waterboarded. I’m not sure we fully achieved that, but we certainly gave it our all. The tension in the story lies within the characters; it’s not about whether the two long-time buddies, Mike or Aaron, will get caught by the police, but rather the decisions Mike must make and the emotional consequences he will face. In many ways, we found ourselves editing a breakup movie rather than just a heist film. And, to create that tension and make the breakup feel powerful, we first needed to establish their relationship, allowing the audience to understand how intimate the two buddies once were.
— How are editing “vertical” series allowing you to explore different editing approaches?
— Vertical TV series, with their unique 9:16 aspect ratio, are designed for mobile viewing, with episodes often just a few minutes, to suit the fast consumption of mobile users. I find the invention of this type of media quite fascinating. These series represent a blend of traditional films and TV series, and TikTok-style videos. By shooting and displaying everything vertically, they successfully avoid competing with traditional media and streaming platforms like Netflix or Amazon. This format creates opportunities for companies that may only have lower budgets, allowing more talented individuals to showcase their abilities.
Check out Zekuan Wang on IMDb.
