Ep116: Maintaining Boundaries, Well-Being, and Sanity on Hollywood Blockbusters | with Jeffrey Ford, ACE

Optimize Yourself

No matter the rung of the ladder you happen to be on in the entertainment industry, making it in Hollywood is no easy feat. And with how our world is evolving post-pandemic, you might think it will be nearly impossible to maintain any sort of work-life balance for our foreseeable future, especially if you’re fortunate enough to reach the top rung of the ladder like today’s guest.

If you’ve ever wondered what it takes to not only survive but thrive while working on giant tent pole films like The Avengers series, Captain America: Civil War and Iron Man 3, or a multitude of other blockbusters, then this conversation is going to give you the inside look you’ve been waiting for. Award-winning editor Jeffrey Ford, ACE has made his career working with big name directors like Michael Mann, Joss Whedon, Anthony & Joe Russo, and Joe Johnston, and he does not sugar coat the reality that editing these films is an all-consuming endeavor.

In today’s interview with Jeffrey (which was originally recorded a few years ago back in the ‘Fitness In Post’ days), he does share with us his secrets and routines for maintaining his health and family life without succumbing to bad habits and burnout. We dive deep into the methods he uses to stay energetic and creative despite the long hours, specifically maintaining consistent movement throughout his workday. He also talks about the immense importance of keeping his team rested and refreshed so they too can be productive and creative while still meeting the demanding and intense work schedules on huge tentpole films. While the conversation might not be brand new, the topics we discuss are as relevant as ever.

If setting boundaries and maintaining some semblance of sanity in our post-pandemic world is a priority for you, after listening I highly recommend following up this episode with my interview with producer Janace Tashjian where we discuss the importance of setting boundaries, advocating for yourself, and asking for help.

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Here's What You'll Learn:

• The story of how Jeff began his film career after graduating from USC film school and getting his first job as an apprentice editor with director James Gray and editor Dorian Harris
• What film school taught him about teamwork and making connections with people in the industry.
• The struggles he endured through years of unemployment, only working 5 days a month while making films on his own to hone his craft.
• His humility still leaves him surprised and enthused that people continue to let him cut their films.
• The extreme focus necessary to edit the film, Public Enemies with Michael Mann, and the demanding schedule and hours he endured.
• Jeff believes that the longer you sit in front of your screen without moving, the more it inhibits your objectivity and relationship with your audience.
• Why he makes time for 3 to 4 movement breaks throughout the day.
• The reason his standing desk has been an enormous benefit to his creativity and mental fortitude.
• The scheduling fix they use on the Marvel movies to avoid burnout and ensure everyone stays healthy and happy.
• The importance of having a work environment that provides daylight, space, and amenities to maintain health and well being.
• Self-assertion and setting boundaries must be built into your routine due to the competitive and intense nature of the business.
• On Jeff’s team, taking care of yourself is looked upon as a strength rather than a weakness.
• KEY TAKE AWAY #1: Keep perspective about the job by understanding that your family is your most important support system to keep you going.
• KEY TAKE AWAY #2: Staying in shape physically is directly connected to your mental well being which is connected to your success.
• KEY TAKE AWAY #3: Divide the workload between more people working shorter hours to stay creative and productive.

Useful Resources Mentioned:

Ep113: The Importance of Setting Boundaries, Advocating For Yourself, and Asking For Help | with Janace Tashjian

Ep11: Making It In Hollywood as a “Creative” (What They Don’t Teach You In Film School) | with Norman Hollyn

Ep17: Is Taking Free Work Really Worth It? | with Alan Bell, ACE

Our Generous Sponsors:

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Guest Bio:

JEFFREY FORD, A.C.E. (Editor) was born in Novato, California. He attended high school in Troutdale, Oregon and graduated from the University of Southern California School of Cinema-Television in Los Angeles with a degree in Cinema-Television Production.

He began his professional filmmaking career in 1994, working as an editorial assistant on James Gray’s debut feature film, “Little Odessa.” He went on to work as an assistant editor on several feature films, including the Academy Award®-nominated “As Good as It Gets” for editor Richard Marks and director James L. Brooks.

Ford’s first solo feature as editor was “The Yards” for director James Gray, which premiered in competition at the Cannes Film Festival in 2000. He edited “Teddy Bears’ Picnic” for Harry Shearer, “One Hour Photo” for Mark Romanek, “Hide and Seek” for John Polson, “The Family Stone” for Thomas Bezucha (his work receiving an A.C.E. Eddie nomination) and “Street Kings” for David Ayer. He also edited “Shattered Glass” and “Breach” for director Billy Ray. With Paul Rubell he co-edited "Pubic Enemies" for director Michael Mann. In 2011 he teamed with Thomas Bezucha again for “Monte Carlo."

At Marvel Studios, Ford co-edited “Captain America: The First Avenger" (with Robert Dalva) for director Joe Johnston, "Iron Man Three” (with Peter Elliot) for Shane Black and “Marvel’s The Avengers" and "Avengers: Age of Ultron” (both with Lisa Lassek) for director Joss Whedon.

“Captain America: Civil War” is Ford’s second film for Joe and Anthony Russo. He also co-edited (with Matthew Schmidt) the Russo's first Marvel Studios feature “Captain America: The Winter Soldier.”

He lives in Los Angeles with his wife and two sons.

Show Credits:

This episode was edited by Curtis Fritsch, and the show notes were prepared by Debby Germino and published by Glen McNiel.

The original music in the opening and closing of the show is courtesy of Joe Trapanese (who is quite possibly one of the most talented composers on the face of the planet).