Collective innovation ​with ​Nicoletta Rousianos

Executive Producer and Managing Partner at The Editors, which handles some of Australia’s biggest movies, series and spots, Nicoletta Rousianos started out as an assistant editor at Postmodern Sydney and has been with The Editors since 2010. 

Last year, The Editors won Post/VFX and Editing Company of the Year at the shots APAC Awards 2024 for its work on brand campaigns ranging from Telstra and Tourism Tasmania to Forty Winks and Gatorade. Here she talks about her journey to becoming Managing Partner, her favourite work from The Editors’ communal roster of talents, and her take on the creative health of Australia and the wider APAC region. 

Where did you cut your teeth and learn the ropes as a producer? 

Fresh out of university, I landed a job at Postmodern Sydney, where I was exposed to the ins and outs of post production. 

I’ve always been passionate about the art of editing.

After my time there, I moved on to assist editor Danny Tait in setting up The Tait Gallery and in 2010, I joined the team at The Editors; I’ve always been passionate about the art of editing, and The Editors has been the perfect home to nurture that love. In 2016, I was proud to become a partner. 

Who were your mentors and inspirations along the way? 

My business partner, Bernard Garry, and the original Executive Producer of The Editors, Josephine MacKenzie, have been pivotal mentors, shaping not just my professional journey but also the person I am today. 

You’re also always inspired by the broader creative community – the directors, producers, and editors who understand the power of storytelling and the artistry behind it. 

What was the impetus behind setting up The Editors, and how has it developed and grown? 

The Editors was originally established by four of Australia’s most respected editors, with a clear vision to create a dedicated home where editors could master their craft and focus on storytelling at the highest level. This foundation was built on the belief that editors deserved a space where creativity could thrive. 

Over the past decade, The Editors has grown beyond all expectations. We’ve expanded, opening a space in Melbourne, and diversified our services in our VFX arm and launched a long-form division. Along the way, we’ve been privileged to represent some of the industry’s finest editors, who continually set the standard. 

How does being a collective impact how The Editors works and the work it makes? 

Being a collective deeply shapes how The Editors functions and the work we produce. Our collaborative structure fosters a strong sense of camaraderie, allowing us to draw on a diverse pool of talent and resources. This teamwork enables us to consistently deliver high-quality creative work, even in the face of tight schedules and budgets. 

Being a collective deeply shapes how The Editors functions.

Additionally, the collective environment provides an ideal setting for mentoring and training the next generation of editors, ensuring a continuous flow of knowledge and growth within our industry. 

And in turn, how has it impacted the wider industry, and the art of editing and post? 

We see a great response from our clients and the industry when the environment is centered solely on the craft. 

By maintaining a space dedicated to excellence in editing and post production, we’ve not only elevated the quality of our work but also inspired higher standards across the industry. 

How would you grade the editing and post/VFX talent coming up in Australia and the APAC region? 

The emerging talent is impressive, standing on par with some of the best globally. This growth is supported by a strong, competitive talent base that continues to demonstrate relevance and impact on the international stage. 

What would be your stand-out pieces of work from The Editors in the past year? 

We truly enjoyed collaborating with Exit’s Mark Malloy and The Monkeys on Telstra’s This is Footy Country, edited by Jack Hutchings and Grace O’Connell. The campaign has been a stand-out in the industry, earning significant recognition on the award circuit both locally and internationally – a success that’s always incredibly rewarding! 

When used effectively, AI has proven invaluable in supporting tight-turnaround projects.

Another significant milestone for us was the establishment of our long-form arm, allowing us to embrace more ambitious, narrative-driven projects. Alexandre de Franceschi and Lily Davis collaborated with Justin Kurzel and Curio Pictures on the highly anticipated, yet-to-be-released series The Narrow Road to the Deep North. Additionally, editor Leila Gaabi’s exceptional work on Bonnie Moir’s Exposure series has not only showcased our growth in long-form storytelling but has also earned her a well-deserved AACTA nomination for editing. 

What is the impact of The Editors winning shots APAC Post/VFX and Editing Company of the Year? 

It’s a significant achievement for us at The Editors, an incredible recognition for the team’s hard work and creativity, and it really cements our reputation as one of the leading post production and VFX companies in the region. The honour is a real morale booster for everyone and puts us in a stronger position to attract new opportunities, strengthen our relationships with existing clients and be more appealing to top talent in the industry. It gives us global visibility.