This week we’re profiling Sheryl Haley, Wheelhouse’s new senior editor. A twenty-year veteran of some of the biggest vendors in the trailer business, Sheryl joined Team Wheelhouse with a star-studded resume, having worked on campaigns such as “Silver Linings Playbook”, “Inception” and “The Royal Tenenbaums”. Now she’s bringing some of that vast experience and know-how to Wheelhouse’s indie clients.
What do you do at Wheelhouse?
I’m a senior editor and producer. I’m working day-to-day on all of our trailer campaigns.
You’ve been an editor for a long time and have an extensive background. Tell us a little about your history and how you got started.
I got my start at Aspect Ratio in LA – I wasn’t having much luck finding my niche in the film industry, but when I found trailers, I finally found a home. I traveled from Aspect Ratio to Giaronomo Productions in NY (following in Jeremy’s footsteps). I stayed there for many years and credit them for making me the editor I am today. After that I went back to LA to work for Trailer Park. Soon after, I was sought-after by some of the biggest and most innovative trailer houses in the industry.
I started freelancing for Wheelhouse a year ago and found a new lease on a job that I’ve been doing a LONG time and was feeling stale for me. They reignited my passion for the craft. I feel in sync with the Wheelhouse vision and I connect with the films we work on. I have the utmost respect for Jeremy and Rob and their commitment to quality.
Editing is a massive undertaking – long hours, exacting detail. What’s your process like?
Editing is the only place I feel completely at home. It’s what I know best when other things in life feel uncertain. I like to watch a film as a viewer before an editor, I let ideas flow. Then I determine which ones will actually work and go from there. Sometimes it’s a piece of music that inspires me or a particular scene I connect to. Sometimes it’s simply an emotion.
Trends in trailers seem to come and go. How have you seen styles change?
Styles change. Particular devices become popular, but the one thing that never changes is the need for good storytelling and the need for translation of a director’s vision into a short form that will best represent the film.
What advice would you give an up and coming editor?
Be tenacious. Prepare to work all night long if need be. Put in the hours. Find a mentor. And if you aren’t passionate about it, you won’t succeed.