Finely Sliced: Blaize Fobbe on Curiosity and Collaboration

Blaize Fobbe is an editor celebrated for his dynamic, frenetic style, showcased in work for brands like Jordan, Porsche, Google and New Balance. He has collaborated with directors such as Salomon Lighthelm, Duncan Wolfe, Eliel Ford, Aiden Cullen, Parker Schmidt, and Hannan Hussain, as well as on music videos for artists like Jack Harlow and Giveon. Originally from Minneapolis, Blaize is now based in Los Angeles, and is signed as an editor at House Post.

LBB> The first cut is the deepest: how do you like to start an editing project?

Blaize> Depending on the project, I usually start with a conversation with the collaborators involved. Getting on the same page creatively is incredibly important. In these stages, we're chatting about references, music, ideas, and more. I really value good rapport with those I work with—communication is incredibly important and can make a project successful.

LBB> Non-editors often think of editing just in technical terms, but it’s integral to the emotion and mood of a film. How did you develop that side of your craft?

Blaize> I've always been an incredibly curious person—not just in filmmaking but in many areas. Finding your taste comes from watching, listening, and continually being curious about the world.

Funny enough, I wouldn’t consider myself a technical filmmaker at all. While gear and components can be important, they’re the last things I think about when realising an idea. I’m constantly trying to understand what works, what doesn’t, and what I might like about something I’m watching. Editing is a small part of a very complicated organism: filmmaking.

LBB> How important is an understanding of story and the mechanics of story?

Blaize> Traditionally, in settings like film school, people are taught that good stories have certain elements and fundamentals that make them effective. It’s important to study and know these fundamentals—and then throw them out the window. With so many different types of filmmakers now, there isn’t one right or wrong way to tell a story. What works for one person might not work for someone else. What I find brilliant might seem mundane to another. Make what matters to you.

LBB> Rhythm and a sense of musicality seem to be intrinsic to good editing (even when it’s a film without actual music). How do you think about the rhythm side of editing? How do you feel out the beats of a scene or a spot? And do you like to cut to music?

Blaize> A sense of rhythm and musicality is crucial in editing. Anyone who has spent time making films knows this, but it can be hard to teach or explain why something feels right. Your style and taste come out in this part of the process, which I love.

Music is also incredibly important to me. I’ve always loved it, and more recently, I’ve gotten into music history. My love for music and film coincides—they live in harmony. A lot of my process starts with building a bed of sound (music, sound effects, dialogue, etc.) that helps inform my cuts later on.

LBB> Tell us about a recent editing project that involved some interesting creative challenges. 

Blaize> I was fortunate enough to work with director Duncan Wolfe, whose work I really admire, on a project for American Eagle this last summer.

The project presented creative challenges: How would it start? How would it end? When these questions arise, I try to lean on my instincts and not overthink. I keep experimenting and testing until something feels right. When a moment clicks, I just keep going. I’ve realised these questions will always come up in creative projects. The open-endedness can be daunting, but you embrace it and move forward. Nothing is done until you say it is—that’s the fun part.

LBB> How important is your relationship with the director, and how do you approach difficult conversations when there is a creative difference of opinion?

Blaize> My relationship with any director I work with is incredibly important. As a director myself, I value their opinion and chat through any difficult creative conversations that pop up. Creative differences can be tough—I feel strongly about my opinions, but I pride myself on communication skills and a willingness to listen and have my mind changed if needed. Collaboration is key. Ultimately, I want what’s best for the project, and I’m willing to do whatever it takes to get there.

LBB> What’s harder to cut around – too much material or not enough?

Blaize> This depends on the quality of the material. I’ve worked on projects with tons of footage, which can make it harder to find the best moments. On the flip side, I’ve worked on projects with very intentional and precise shooting, which doesn’t always allow for natural moments to happen. It’s a fine line, and it comes down to understanding the project’s needs.

LBB> Which commercial projects are you proudest of and why?

Blaize> Two stand out.

The first is a spot for Figs, a brand that sells scrubs and products for medical professionals. This project is significant to me because my mom works as a registered nurse in the healthcare system. Everything aligned on this project—I had near-complete autonomy to create what I thought was right, and I had a blast editing, concepting, and coming up with creative ways to present the shoe.

The second project I’m proud of is the American Eagle spot I mentioned earlier. Working with beautiful 35mm footage shot by Mika Altskan and collaborating with Duncan Wolfe and the team at Acre was incredible. The process was long but rewarding.

LBB> There are so many platforms for film content now. Are you seeing a change in the kinds of projects you’re getting from brands and agencies?

Blaize> With platforms like Instagram and TikTok, there’s a big shift toward short-form content aimed at capturing attention. Performance is based on engagement and virality, and brands are building metrics around these standards. This feels sad to me because it seems like some brands and agencies are prioritising algorithmic data over creative integrity. Regardless of how the landscape shifts, my focus is on making things that are unique and high-quality—not on what performs best.

LBB> Who are your editing heroes and why? What films or spots epitomise good editing for you?

Blaize> I don’t necessarily have editing heroes. As a filmmaker, I draw inspiration from many disciplines.

If I had to name a few, Anton Tammi, BRTHR, Arnaud Bresson, and the late Valentin Petit come to mind. I’m also incredibly fortunate to have friends and close collaborators who inspire me daily. Some of my favourite work includes The Sopranos and Trainspotting. One of my all-time favourite pieces is Anton Tammi’s music video for JIL’s “All Your Words.” The art direction, story, editing, and cinematography are all incredible.

LBB> How does editing in the commercial world differ from the film and TV world?

Blaize> They differ in a big way. Traditionally in film or TV, you improve and gain more opportunities by working your way up in a specific role. Now, more self-taught filmmakers are learning on their own—that’s been my path. I knew very little about the industry before working in it, so I had to figure things out through trial and error.

LBB> Have you noticed any trends or changes in commercial editing over recent years?

Blaize> Most definitely. Platforms like Eye Candy and other reference board sites showcase new techniques daily. Quick cutting has become popular, along with hard-mount POV shots and probe lens macro shots. I love seeing filmmakers share their processes—it demystifies filmmaking and shows how techniques can be used in unique ways.