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Aug 22, 2023

Netflix’s Dahmer, A Black Lady Sketch Show Editor on History Emmy Nomination

Editor Stephanie Filo achieved a remarkable feat this season, earning three Emmy noms in picture editing for three different shows in the same year: HBO’s A Black Lady Sketch Show, Netflix’s Dahmer ­—

Editor Stephanie Filo achieved a remarkable feat this season, earning three Emmy noms in picture editing for three different shows in the same year: HBO’s A Black Lady Sketch Show, Netflix’s Dahmer ­— Monster: The Jeffrey Dahmer Story and Hulu’s History of the World: Part II. Filo has made history as the first editor to be nominated in a single year for three different shows and the first Black female editor to be nominated three times in a single year. The Hollywood Reporter talked with Filo following the nominations announcement.

How did it feel to receive three nominations?

This is such a humbling experience and something that I don’t think I ever could have dreamt of happening. I hope that it’s testament to the fact that editors can cut different things. A lot of times we get a little bit pigeonholed, or the industry likes to try to pigeonhole us. I also hope with this added level of visibility that I can help bring more people along with me for the journey, because I just feel like none of it means anything unless I see more people who look like me in this kind of a position. I didn’t know any Black editors at all until about four or five years ago. I’ve been so happy to see the postproduction space changing a little bit over the past few years. But I just hope to keep seeing more people who look like me getting this kind of recognition for our work.

Tell us about the creative team on A Black Lady Sketch Show.

Yeah, definitely. [Creator] Robin Thede is so passionate about making sure the show feels authentic, that our voices and our different perspectives are represented. Every single department has Black women in it — or has women of color in it, or has nonbinary people in it. It’s been such an incredible ride on that show because I haven’t seen anyone open the door the way Robin Thede has.

What do you enjoy most about cutting the show?

Seeing so many different types of Black women represented in one space. Especially in the comedy landscape, there’s always this sort of stereotypical version of what a Black woman is. Robin and the amazing Black Lady writers have gone above and beyond to make sure there are hundreds of different types of Black women showcased every season.

How closely scripted is it?

Usually they will do one or two takes as scripted. After those couple takes, they’ll do several more, just letting it all out. They give us a lot of material to work with. One of the first things [Thede] ever said to me was, “I don’t care how you cut it, as long as it’s the funniest thing possible to you. Then we’ll just build from there.” She really is just so collaborative.

What was the most challenging aspect of cutting History of the World: Part II?

Finding the voice of it, because there are so many amazing comedic talents behind the scenes producing it and so many different comedic sensibilities. That’s what made it so special. You’re like, “This is something that makes Wanda Sykes laugh. This is something that makes Nick Kroll laugh.” If you know that you’ve done something that makes these amazing comedic icons laugh, it’s like, “OK, I think we have something good here.”

How did you approach Dahmer?

I was very hesitant to work on [it] at first, to be honest. We’ve seen so many sensationalized versions of that story over the years. When I read the scripts and saw what they were trying to do — trying to highlight a system that had failed so many people — I was immediately on board. It was very heavy to work on, as you can imagine. My assistant editor, Lyric Ramsey, and I would call each other at the beginning and end of the day to check in and make sure we were OK. My biggest concern [was] telling it as respectfully and authentically as I possibly could. I watched so many documentaries, read books, listened to music that felt like the tone of how we were trying to edit the series.

Interview edited for length and clarity.

This story first appeared in an August stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.

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