Manoochehr Sanei, born on 20 November 1984 in Tehran, is a directing graduate. On the occasion of discussing current issues in editing and the challenges faced by young talents entering this field, we arranged an exclusive, warm, and engaging interview. Let’s follow this conversation together.
1. Hello, how are you?
Answer: Hello, I’m good, thank you—thanks to God.
2. Great! Could you introduce yourself a bit more for the audience of Foujan News?
Answer: Since childhood, I’ve shown a strong interest in art. Besides excelling in my studies, I was always involved in artistic activities at school. These activities started around the age of nine with acting and directing student theater productions. Later, I moved into photography, and ultimately, by studying art at university, I shaped my path and developed my efforts in this field.
3. Before anything else, could you name the films and series you’ve worked on as an editor or assistant?
Answer: Due to the state of cinema and television when I entered the field—which coincided with the transition from analog to digital systems—and because I had no acquaintances or relatives in the industry, I never worked as an editing assistant. My work began directly with editing short student films and class projects. I still have no credits as an assistant. That’s why I climbed the steps of progress slowly and carefully.
My first professional experience for which I was paid, and that went to a professional festival, dates back to the mid-2000s: a documentary I edited about the families of martyrs. Thanks to that project, I edited over 100 documentaries within a few years. This became an extremely valuable experience, and documentary editing still influences my work today.
After that, I was invited by Mohedd Shadroo, a talented young editor, to join the editing team for the TV series Matador, directed by Farhad Najafi. This was my first professional work in television. Later, I edited a telefilm called Gedan, which aired on Channel 1.
I was then invited to edit the TV program Today Hasn’t Ended Yet, during its first two seasons when Ali Moradi was the host, and Pedram Karimi made his debut as a presenter. Afterward, I edited the documentary program Shock, hosted and directed by Shahin Samadpour, which I believe was the program’s best era.
During this time, I also created several title sequences and clips as designer, director, and editor for programs such as B Like Spring, Eighth Descent with Kaveh Khoshānās, Me and Friday by Hossein Ameri, Symphony of Champions by Yousef Taherian, and others.
Later, I was offered the editing of the documentary on artists’ trip to Brazil by Seyed Javad Hashemi—which was truly a difficult and exhausting project. After that, I edited Mr. Special, and the art-and-experience feature film The Man Without Lips, which was accepted into the Yas Festival.
I then joined the series Aspirin by Farhad Najafi, where I handled the “Previously On” and “Coming Up” segments. Afterward, I edited the series The Return directed by Hossein Ameri.
Then, I collaborated with my dear friend Farid Valizadeh on the horror film Devil’s Mirror, a tough and unusual project. After that, Sajjad Pahlevan Zadeh invited me to co-edit the feature film Dayan, directed by Behrooz Nowvani-Pour, which was a great experience.
I was later invited again by Sajjad Pahlevan Zadeh to co-edit the feature film Confiscation, though I stepped away halfway for personal reasons. Still, the good memories of meeting Reza Attaran, Mehran Ahmadi, Masoud Salami, Farid Nazer Fasihi, and most importantly Ms. Narges Abyar and Mr. Ghasemi will always remain with me.
After that, Mohedd Shadroo asked me to help edit the series Deldadegan, directed by Mr. Manouchehr Hadi and produced by Iraj Mohammadi. My name wasn’t listed in the credits due to certain circumstances, but since Mohedd Shadroo is an old friend, I didn’t mind and just tried to contribute to the editing.
Most recently, I edited the series The Missing Piece, directed by Rouhollah Fakhroo, which is now in its final technical stages for broadcast.
(With a smile) Did you notice how many times I used “later,” “after that,” and “in continuation”?
4. (Smiling) Yes, that was a very detailed introduction—made editing hard! Now, let’s get to the main question: Has editing become repetitive, or is it film-making styles that have become repetitive?
Answer: Honestly, neither.
5. Why? Could you explain more?
Answer: In theory, filmmaking and editing styles follow certain established frameworks that have been used in cinema for years depending on genre. But for me, after years in this profession, the style and form of editing in each project is very different from the next. The overall styles may appear similar, but trust me—when you look closely, the details are so different you could never mistake one film for another.
6. Is it true that by watching a film, one can recognize its editor?
Answer: For the general public, definitely not. But for professionals—yes. Every editor, like a musician, has their own accent, rhythm, and stylistic signature in building drama and pacing the story. This is why some directors work with the same editor for years and rarely change them.
7. Are editing tools in our country up-to-date?
Answer: Yes, in terms of hardware and software, we’re fully up to global standards. Any tool we need can be ordered and brought from neighboring countries if it’s not available here—provided, of course, that we can afford it in the current economic conditions, which is an entirely different issue and unrelated to our discussion.
8. Why are most editing software programs in Iran cracked, and is this problematic?
Answer:
Look, in the software field—from operating systems to specialized programs—due to economic, global, and social limitations, accessing the original versions is very difficult and in some cases nearly impossible. We must be realistic about the country’s circumstances. Many things are unavailable in our country, and to meet our needs, we are forced to use low-quality alternatives. This issue with software is quite minor, but because of a cultural gap—especially in this field—using cracked software has, for years, been seemingly the only way to meet this need without supervision or legal restriction.
9. Is it correct to say that an editor only needs to master one editing software?
Answer:
Most of our colleagues work primarily with one software, but that doesn’t mean they only know that program. Editing software, in general, accomplishes the same tasks, with differences mainly in details and interface. I always tell my students that learning editing software takes between 6 hours and 6 months depending on their talent. But what really matters in this profession is the art of editing, which has no end. How many software programs you know, or which one you can work with, makes no real difference when it comes to understanding the art of editing.
10. Has editing work become easier compared to the past?
Answer:
If you mean the hardware aspect, yes—thanks to the digital revolution in art, the work has become much easier. But the method and art of editing today are more complex and difficult due to intricate ideas, stories, screenplays, characters, and, most importantly, the perspectives of young, modern directors and their diverse approaches to shot composition and timing.
11. Why do many assistants or editors with only one or two experiences attempt to manage editing?
Answer:
I think this has social and cultural roots. In today’s society, young and inexperienced individuals often haven’t been taught patience and perseverance. We assume that with a little knowledge about something, we can start at the highest level in that field. But skipping these stages only harms the individual. Without patience and experience, the results are unsatisfactory, which leads to frustration and disillusionment with the work.
12. What are the concerns of a modern editor?
Answer:
An editor’s main concern must be their work. This is timeless. Editing requires intense focus, and anything else acts like a poison for this profession.
13. Is it true that editing can save a film or director?
Answer:
Yes. One of the original purposes of editing, even in its early years, was to rescue a scene from a problem that the production team—or specifically the director—faced. Fundamentally, editing should assist the film and director and, in some cases, save them.
14. Does a “final touch” really exist for an editor?
Answer:
Yes. One of the most important parts of editing is the last review, after post-production stages—sound design, music, visual effects, and color correction—where the editor applies the final changes. This stage is truly like the “craftsmanship touch” you mentioned.
15. What tools does a young person interested in this field need?
Answer:
The most important tools are really education and inherent artistic intuition. In my opinion, these are more important than anything else.
16. What has been your worst experience in this profession?
Answer:
Every job has good and bad days. My worst moments were when, despite my competence, I wasn’t recognized, or I was sidelined due to a lack of connections or not compromising my ethics. These experiences will never leave my mind and make me more determined and energetic in my work.
17. Why is an editor’s salary considered high?
Answer:
High compared to what? What’s your standard for “high”? Compared to a regular employee or the head of a government office? In fact, an editor’s salary in Iran is only about a fifth of what a colleague earns in Gulf countries. So it really depends on what you mean by “high.”
18. Moving on, what does creativity in editing mean?
Answer:
Creativity in editing doesn’t always mean doing something bizarre or groundbreaking. Sometimes it’s as simple as slightly shifting a cut or replacing one shot with another to increase dramatic impact. Overall, all the decisions on the editing table constitute artistic creativity.
19. Is it true that an editor can’t perform miracles?
Answer:
I believe that the full term should be “the miracle of editing” or “editing magic.” When some editors say they can’t perform miracles, I tell them: “You’re sitting in that chair to create miracles.” Editing isn’t just gluing shots together, but we can elevate a bad film to average, which in itself is almost miraculous. However, turning a truly bad film into a masterpiece isn’t realistic—we must be practical.
20. What are the professional challenges in this field?
Answer:
These days, all NGOs in our country face structural problems because they are not officially recognized by any authority. Their professional associations face the same issue, which diminishes their credibility and prevents them from fully protecting the legal rights of their members.
21. Is it true that joining this professional association is very difficult?
Answer:
Ignoring my previous answer, I would say editing is a very sensitive and important profession, so entry should be strict and precise. Not just anyone should be able to enter this field. I myself haven’t joined the association yet, but I don’t have any prejudice against it. If I haven’t joined, it’s because I haven’t reached the required level of skill and maturity, which is logical. Assuming the association has proper social and legal legitimacy—which in Iran it largely doesn’t—the professional credibility depends only on those who are members. Ideally, a ministry or official body should fully support the association and its members, but there’s a legal gap in this area; the association currently lacks proper oversight.
22. On average, how many hours do you spend daily at the editing desk?
Answer:
On average, I work over 10 hours daily at the editing desk from the start of a project.
23. Have you ever stopped working due to a disagreement with a director?
Answer:
I haven’t stopped because I believe you shouldn’t leave a project unfinished. However, directors or producers may stop collaboration due to financial, timing, or other reasons—but that decision was theirs, not mine.
24. Have you ever cut a scene against the director’s wishes and regretted it later?
Answer:
No. I’ve cut many scenes, but I’ve never regretted it. Every time, I felt satisfied with the decision.
25. Which is harder, editing or directing?
Answer:
Honestly, directing, because it’s about creating a work. Editing is creative refinement—it’s shaping an existing creation.
26. With your current position, how do you evaluate yourself?
Answer:
I feel I’m in the right place, but I must continue striving for constant progress. I firmly believe that one must climb the steps calmly, steadily, and in order to reach a safe and solid position.
27. It’s been said that you’re an editor who gets along with everyone—true?
Answer:
If by “getting along” you mean being flexible, yes. But I never allow anything incorrect to be imposed in my work.
28. Can you explain ethics and professional behavior in this job?
Answer:
The most important aspect is discipline. An editor must be very organized and must never forget politeness and respect. A little sense of humor during work isn’t bad either—I recommend it.
29. Who is your favorite editor?
Answer:
In Iran, with respect to all masters, Abbas Ganjavi. Internationally, Michael Kahn and Walter Murch.
30. The last film editing you really liked?
Answer:
Cold War, edited by Jaroslaw Kaminski.
31. Who are your close friends?
Answer:
If you mean in cinema:
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Mouhed Shadro, my childhood friend, with whom I started this work.
-
Kaveh Khodashenas, with whom I spend a lot of time and enjoy being together.
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Hossein Amiri, from whom I always learn.
-
Amin Zendegani, with whom I have the honor of a sincere friendship.
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Elika Abdolrazaghi, Sogol Tahmasbi, and Alireza Mohammadi Nazanin, whose friendships I deeply value.
32. Do you have a new project in hand?
Answer:
Yes. With pride, I’m editing the new work of Siamak Shayegi titled “Is the Friend’s House Here?”, and I enjoy working alongside him.
33. Advice for those interested in this profession?
Answer:
First, fully research this field and understand its difficulties and working conditions before deciding. Second, pursue a university education in this area. Finally, art is nothing without love—you must be passionate. If you love art, step into this arena.
34. Final words from Manoochehr Saniee?
Answer:
Life is the unique stage of our artistry. Everyone sings their own tune and leaves the stage, but the stage endures. Blessed is the melody that people remember. Thank you to you, my family, and everyone who has supported me over the years.