There is no ‘I’ in team, but there is a Tre Manchester! At Bottle Rocket Media, no video production is complete until the editor has told their version of the story – and with Tre at the console, every piece of the “puzzle” is carefully shaped to fit with the overall vision of the crew and client. Learn how he started out and why it is important to ignore the critics:
Being a good editor is like being a puzzle-master – except you’re allowed to alter the shape of the pieces as you go. Throughout any video production, the story is told three times: when you write it, shoot it, and edit it. Being an editor also means being a good storyteller with a keen eye for those special moments, ready to experiment to make the pieces fit.
I love learning something new each time I edit. Working at Bottle Rocket Media exposes me to new clients every day, and each video has some new story or profession to explore. Whether it’s editing a medical video, or a narrative comedy, I get to learn while making something creative.
I started in creative writing, which eventually sparked a desire to see my ideas come to life through film. For the past eight years, I’ve honed my craft in producing, directing and editing – both on freelance content projects and in the feature-narrative side of the industry.
I met Dan [Founder] a few years back when I was running the video department at a digital marketing agency. When it came time to find something new, we reconnected. After meeting Brett [Partner] and the rest of the team, I knew Bottle Rocket Media was where I wanted to be. It’s exactly the kind of atmosphere I had been looking for.
Having a team mentality is something so crucial in this industry. I grew up playing sports, and adapted that mindset to working on sets, and in post-houses. At the end of the day, we are all working toward common goals. I feel most of my career is a testament to being a team player or leader – which has brought me to where I am today.
We just shot and edited a series for Glidden paint, which demanded synergy between all production departments, from pre-to-post. It really helped fine-tune our process of using multiple editors, simultaneously. It was like painting a mural—each of us had a brush and some paint, and together we had to work in unison to create a cohesive result.
My first feature film. It was a crash course in real-life filmmaking, requiring me to build my team from nothing, and bring everyone together on one massive endeavor. I heard the words “no” and “good luck” a lot on that journey, but the final result surpassed my expectations, leading to distribution, domestically and overseas. Most importantly, I learned my own strengths and weaknesses, which helped shape me professionally.
The Tree of Life by Terrence Malick is a big influence on me. I first saw it at a formative time in my career, when I was learning the language of film and video. It opened my eyes to the method of breaking all the “rules” and usurping a typical narrative structure, while still impacting the audience emotionally.