Navigating the world of video production requires equal parts creativity, organization, and calm under pressure—qualities that Ellie Ware, producer at Cut + Run, continues to hone and master.
From her early fascination with movie magic to producing high-profile campaigns for brands like Dove, Nike, and Bethesda Game Studios Skyrim, Ellie has learned the importance of clear communication, thoughtful planning, and saying ‘yes’ to new opportunities.
Ellie shared with us her thoughts and insights on managing tight deadlines, pushing creative boundaries, and why resources like Filmsupply are invaluable for editors and agencies.
FILMSUPPLY: What initially sparked your interest in video production?
Ellie Ware: Initially, it was the beauty of movie magic! I have tendencies to latch on to some of my favorite media intensely, so I’ll watch my favorite movies over and over.
Naturally, I started wondering how they got made and began dreaming of being involved behind the camera. I love telling stories (and consuming them!), but actually being part of the production felt like such an impossible goal.
I moved to LA with my family in 2012 and got a job as a receptionist at a production company. From there, I became even more engrossed in production.
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You’ve worked on numerous commercial projects for some pretty iconic brands. What are some of the most memorable projects you’ve worked on?
Ellie Ware: In my agency days, I worked on some gameplay trailer work, specifically for Skyrim/Elder Scrolls. It was memorable for a few reasons, not the least of which was that I was already a fan of the games!
I was relatively new to producing, and I learned so much about game capture. It felt so collaborative and so creative (nevermind that it was an opportunity to “play” video games and get paid for it).
Another project I’m proud of was Dove’s “The Code” campaign. This spot shone a light on beauty standards and how the proliferation of AI-generated perfection was affecting women specifically. The incredibly talented group of women involved made this project enjoyable and memorable.
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I know any project I get to produce for Amy Rosenberg will be extra collaborative and fun. I have a lot of respect for her because she values opinions and differing perspectives.
On the production side, Juliana Curi, the director, was so professional and involved in the best ways. At the time, this was my first project with AI involved, and it felt like a milestone for me.
Since then, I’ve been on more projects that have used AI in different ways. It’s been fascinating to see the evolution of AI in media happening in real-time.
Is there a part of the production process you love the most?
Ellie Ware: I truly love all aspects of production, but if I had to choose my favorite, I’d say I love the concepting stage the most! It’s gratifying to see something being built from nothing.
I truly admire all our agency partners—copywriters, art directors, and creative directors. They get a brief—and maybe some CTAs from their clients/account managers—and immediately start brainstorming. They come up with the most creative, clever, and memorable ways to get the message across!
I’m often asking myself, “How the heck did they think of this!?”
How do you manage client expectations while pushing the creative boundaries?
Ellie Ware: It all boils down to communication, and this is an area where I’ve been burned before.
Ultimately, our team will do what creatively makes sense to our agency partners. But it’s vital to know what is happening in the edit so I can take all the information back.
For example, if we have complicated split screens or replacements just to make a shot work better, it is vital to divulge that information to our finishing partners and ask them if this works within their budget and schedule.
If it won’t work, then I have to consider the implications and then go back to the agency with that info. I’ll tell them, “Hey you remember that thing we tried yesterday? It falls within scope, so we’re all good”— Or “It’s not within scope, and here’s how much it’s going to cost. Should we go back into the edit and figure out our alternatives?”
How do you handle tight deadlines and high-pressure situations?
Ellie Ware: I rely on organization and communication. I like to start any project with a tight deadline by aligning with the calendar.
Often, folks will try to be a little loosey-goosey with those things, but setting timelines and milestones in advance of editorial helps mitigate timing constraints. And it will often allow our client to see the sorts of technical timing constraints we have.
Sometimes, I think people don’t really understand how long it takes to ingest footage, even just downloading or uploading. Those 1’s and 0’s can only go so fast!
I approach high-pressure situations similarly. This job is inherently stressful, so I take lots of deep breaths, choose my words and approach carefully, and, most importantly, never allow my own stress to trickle down to my team. You get neither the results you want nor the energy that keeps things chugging forward.
That’s where those deep breaths come in handy. I find that calm and thoughtful communication resolves most high-pressure situations.
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What advice would you give to aspiring editors who are working their way up the ranks?
Ellie Ware: Take every lunch and try as much as you can to say “Yes.” Even if the project isn’t creatively satisfying, you have an opportunity to build a relationship and gain experience that I believe will only come with time. And with that time, you begin to develop your own style.
I recently worked with an agency producer who asked us to put together a blooper sizzle reel, so I had one of our newer editors, who worked his way up from an assistant, put this together.
It was great, of course, but what this agency producer said stuck with me: “I didn’t even read the editor’s name, but I just knew this was cut by him.” So do what you can to develop relationships, be it with an agency or a director, and build up enough experience to have a clear voice within your work.
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Why do you recommend Filmsupply as a resource for editors, agencies, and post houses?
Ellie Ware: For a variety of reasons, I’ve found that we’ll often need to spice up an edit or fill some gaps in the storytelling with a particular shot. Filmsupply makes it easy to search for just about anything.
And if you’re striking out on your own, the team at Filmsupply will help us pull footage based on parameters. I find that the quality of stock material at Filmsupply is higher and more cinematic than other libraries I’ve used.
When judging Editfest submissions, what’s the one thing you look for that will set great edits apart from the rest?
Ellie Ware: I look at things holistically. I’m a sucker for sound, so I’ll be listening for music beats to make sense with picture and sound design. I’ll also be looking at the flow and feel of the picture and how the picture and sound serve to tell the story or get a CTA across. I’m looking forward to it!
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This was written as a part of Filmsupply Editfest 2025. Want to learn more?
