Nayeong Nam

Born 1970

Nayeong Nam (남나영) is a South Korean film editor who began in 1997 as a negative cutter. In 2002, her first work as an editor was on Chosin Jeong’s Wet Dreams/Idiots/Mongjeonggi. Since then, Nam has worked on multiple films with leading South Korean directors and amassed sixty-six editing credits. She has edited five films for Seung-wan Ryoo (Crying Fist/Jumeogi unda; Timeless; Dachimawa Lee; The City of Violence/Jjakpae; and Arahan/Arahan jangpung daejakjeon). With the director Jee-woon Kim, Nam has edited four films (I Saw the Devil/Angmareul bwatda; The Good, the Bad, the Weird/Joeunnom nabbeunnom isanghannom; Bakugan: Battle Force; and Doomsday Book: Heaven’s Creation/Illyumyeolmangbogoseo). In her work with Hyoung-chul Kang, Nam has edited three films (Sunny/SseoniTazza: The Hidden Card/Sinui son; and Scandal Makers/Gwasok seukaendeul). The Grand Bell Award is the South Korean equivalent of an Oscar. In the Best Editing category, Nam was nominated six times (for Scandal Makers, The Good, the Bad, the Weird, The City of Violence, Arahan, Dong-hyuk Hwang’s The Fortress/Namhansanseong and Byoung-gil Jung’s Confession of Murder/Naega sarinbeomidaand has won twice (for Crying Fist and Changmin Choo’s Masquerade/Gwanghae: Wangi doen namja). For her work on I Saw the Devil, she won an Asian Film Award, which is presented annually by the Hong Kong International Film Festival Society. For the Blue Dragon Award, Nam was nominated for Tazza: The Hidden Card and won for Masquerade, and at the Women in Film Korea Festival, she won for Sunny.

(N.b.: There is major inconsistency on the web about the way her name is written, as well as how film titles are Anglicized, so everything here appears as correctly Anglicized according to a Korean film scholar.)


Jill Bilcock, ACE, ASE

Born 1948

Jill Bilcock, ACE, ASE is an Australian film editor who has edited several films by Baz Luhrmann, including Strictly Ballroom, Romeo + Juliet, and Moulin Rouge, which all received BAFTA nominations. Moulin Rouge also received an Oscar nomination and won an Eddie.  She edited Jocelyn Moorhouse’s How to Make an American Quilt and The Dressmaker, which received nominations for Best Editing from AACTA and FCCA. Bilcock has also edited for directors Lizzie Borden, Monika Treut, Clara Law and Ana Maria Magalhães (for their segments of Erotique), for Sam Mendes and many others.

“It’s a weird thing to say but I don’t look at films for the editing, unless it’s bad. [Laughs]. I see many Australian films and one which really sticks out in terms of editing would be Sweet Country. It’s excellent. I don’t really go for things like Mad Max: Fury Road even though it’s done really, really well and you can see the labour in it. I prefer smaller films. A well edited film is a film that works. I can see the skill in a lot of movies but I’m just not that interested in the way a film is edited. [Laughs]. It has to be emotional, it has to arrive to a conclusion and it has to tell a good story. I don’t go for all that invisible bullshit. Sometimes it’s correct and other times it isn’t. It’s just got to deliver stylistically according to the director. Baz was a madman so I’d give him a mad edit!” [Laughs].
— “Interview: Jill Bilcock” by Matthew Eeles. The full interview can be found in the Appendix.