What does it take to turn raw footage into a compelling narrative? For Nic Larrabure, head of post-production at ICF Next, the answer lies in patience, precision, and a deep love for the craft. From childhood experiments with VHS recordings of The Simpsons to collaborating on ambitious film projects like 400 Days and Pandemic, his filmmaking career has been marked by a relentless pursuit of storytelling excellence.
In this candid conversation, we talk to Nic about his most memorable projects, the challenges of balancing client expectations with creative vision, and the lessons he learned along the way. Whether you’re an aspiring editor or a seasoned pro, his insights offer a fresh perspective on the art of editing.
What initially sparked your interest in editing?
Nic Larrabure: I’ve always been drawn to editing, even as a kid. Around the age of 6 or 7, I would record episodes of The Simpsons on VHS, making sort of video mixtapes.
I would pause the recording during commercials, in essence, editing them out. Then I’d lend or trade them to my friends at school. So, my editing career started early!
Later, in grad school, I took a video production class, where I made my first short film. I did everything: writing, shooting, acting, editing, and composing the music. It was a crash course in filmmaking, and while the final product wasn’t great, the positive response from my classmates helped me realize this was something worth pursuing.
I enjoyed the editing process most of all—and from that moment, I knew it was my chosen path.
What are some of the most memorable projects you’ve worked on?
Nic Larrabure: Invariably, the projects that challenge me the most are not only the most memorable but the ones I’m most proud of. One that stands out is a film called Daughter, directed by Corey Deshon. It was shot on 16mm on a tight budget, so every shot required precision.
Early on, Corey and I agreed on approaching the edit without lots of cuts just for the sake of cutting. We wanted to let scenes and moments breathe more organically to how they were captured on set and not let the edit overly dictate that natural pacing.
In a funny way, every cut we made became that much more intentional. It was a great lesson in patience and restraint, and it made me realize that knowing when not to cut is an equally important discipline.
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Is there a part of the editing process you love the most?
Nic Larrabure: There’s something special about day one, a blank timeline, and nothing but possibilities in front of you. And equally, the day you lock picture on an edit and turn it over is always satisfying.
But somewhere in the middle, there are occasions when you create something unexpected. Sometimes, it’s as simple as moving a scene to a new place and changing how the story unfolds or leaning into the nuance of a performance in a unique way that changes a scene’s dynamic. Those moments where you elevate the story or the creative are what keep me curious and inspired.
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How do you manage client expectations while pushing the creative boundaries?
Nic Larrabure: This balance is always a bit of a dance, but it really boils down to clear communication and building trust. The work should speak for itself. But sometimes, clients need a little guidance.
I explain my creative choices clearly and in a way that aligns with the client’s goals. And by involving them in the process in that way, it becomes a collaborative effort, and they feel more connected to the final product.
It’s a combination of being confident in my ideas but also flexible enough to collaborate and ensure that the finished piece is something everyone is excited about. After all, the client built the playground—we’re just playing in it.
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What advice would you give to aspiring editors who are working their way up the ranks?
Nic Larrabure: Attitude is just as important as ability. Talent will get you in the door, but being flexible, open to feedback, and easy to work with will help you build long-term relationships.
As editors, we’re there to support the director’s vision, not impose our own. Bring your creativity to the table but know when to put your two cents back in your pocket.
Also, surrounding yourself with people who challenge you is just as important as working with people you like. People who are easy to work with are great, but if you want to steadily improve, you want collaborators that push you out of your comfort zone and motivate you to be better and think differently.
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Why do you recommend Filmsupply as a resource for editors, agencies, and post houses?
Nic Larrabure: Filmsupply is hands down my go-to resource because the quality of their footage is top-notch, and they have such a wide range of content to choose from. It’s always the first place I check when I need clips for a project. If I can’t find exactly what I’m looking for, their team has always been tremendously helpful in curating any footage based on my project’s needs that I may not have come across.
They’re not just a resource—they feel like an extension of my team. They’ve been a huge asset, and I can’t imagine working without them.
When judging Editfest submissions, what’s the one thing you look for that will set great edits apart from the rest?
Nic Larrabure: For me, it’s not just about technical skills or style—it’s about how the edit makes me feel. I’m looking for something that grabs me emotionally and sticks with me.
It’s not always about perfection, but about creating something that hits the right notes and makes the viewer connect with the story. Whether it’s through pacing, timing, or just the overall vibe, I want to be moved by what I see. That’s when I know the edit has truly nailed it.
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This was written as a part of Filmsupply Editfest 2025. Want to learn more?
