Films are a means to connect anyone from any location on the planet; that’s as true for those involved in making them as for those watching. Creating beloved films has become an international collaboration in which the only true currency is talent. Editor Ting Yu has received recognition for her work on films about religious slavery (Like Cotton Twines, for which she received the Ghana Movie Award for Best Editing), animal poaching (the documentary Wild Daze), and infidelity that follows a woman’s life altering car wreck (Maria).
With all of that intense drama, one might question if seriousness is her wheelhouse but two feature films based on comedy confirm that it’s Yu’s overall artistic sensibility which has led to her notoriety in the industry. Whether the soul switching action of Almighty House or a woman’s quest to meet her idol, country music legend Willie Nelson in Willie and Me, Ting’s comfortability in crafting tales of humor is vetted by the response these stories elicit.
Willie and Me encapsulates the increasingly borderless and interesting world we live in as we watch a German woman seek out a Nashville icon, as delivered by this acclaimed Chinese editor. Almighty House tells a very Chinese story but is set in Las Vegas. The message is clear; our world is getting smaller and great professionals gravitate towards each other to create art.
Of all her work, the upcoming release Willie and Meattests to the universal nature of storytelling more than most. Titled due to the main character’s search for Willie Nelson, creating the film was a truly international experience behind the scenes. After unsuccessfully working with an editor in Germany, filmmaker and director Eva HaBmann of Willie and Me sought out Ting to help her sculpt the footage that spanned nearly a decade of filming.
Though the characters in the film are speaking German at times and the action takes place mostly in America, Ting (a native of China) transcended any language barriers to craft scenes that communicate the struggle and triumphs of the main character. Given the stamp of approval by Nelson’s camp, live footage and music is an essential part of the film. Ting confirms that she cut some scenes to the music and tempo to manifest the proper flow for the story.
The editor notes that sifting through the footage and deciding which of Willie’s performances to use was an experience she’ll long remember. Concerning her enthusiasm with the editing results, director Habmann declares, “Even during the drama that drives the film, Ting never lost the overall comedic nature of the performances. I have been so insanely impressed with her talents in the edit room with this film! She has crafted one of the best films of her career.”
Increasingly we see American and Chinese audiences cross pollinating in their entertainment viewing. The creators of the 2019 feature film Almighty House wanted their story to be as appealing and accessible to audiences in the States as in mainland China. A requirement to achieving this end is using professionals who understand the cultures of both countries, like Ting Yu and Taiwanese director Daoxiu Wei. The two collaborated on this comedy/adventure about two men who swap souls at the Almighty House in Las Vegas.
Surprisingly, the quick moving nature of the action and the special effects were not the most challenging aspect for Ting who relates, “The scene in which the two maincharacters change theirsouls was really difficult for me because both characters have such drastically different personalities. I really wanted to make it subtle but eventually found that the dramatic moments of the performance were ultimately best for the edit.”
Ting Yu’s work has most often been centered on dramatic, even uncomfortable subject matter; with these recent releases, she’s getting to apply her lauded skills to much more lighthearted tales. She welcomes this noting, “I think I’ll always be involved in telling important stories like Wild Daze (Phyllis Stuart’s 2019 documentary about elephant poaching) but it’s nice to edit comedies and adventures as well.
I’m such a Willie Nelson fan; Willie and Me was a great experience! Even with Almighty House, I was able to edit in a way that the villain was actually liked by audience members. As long as I’m able to be creative and challenged with different projects, I’ll continue to be happy and grow as a filmmaker.”