P.S. 260's Adam Epstein On The Art Of The Parody

Comedy is all about… timing. A well hit punchline can slay even the grumpiest audience, whereas a misfired one-liner can ruin the flow of even the most sublimely chucklesome script. It’s for this reason that the skills of a good comedy editor are essential when putting together work that’s designed to provoke a chortle or two – and with new signing Adam Epstein, New York-based creative editorial boutique P.S. 260 have gone straight for the best.

Building his editorial skillset on NBC’s internationally renowned “Saturday Night Live”, Epstein’s parody commercials and shorts (lampooning everything from Justin Beiber Calvin Klein spots with Kate McKinnon or his hilarious series of Lincoln parodies with Jim Carrey channeling Matthew McConaughey) have been documented everywhere, from Fast Company to NoFilmSchool.

Now looking to get back into cutting commercials – his career has spanned Stun Creative, Red Car and Hybrid Edit – we took the opportunity to catch up with Adam and quiz him on how to snip your way to the audience’s funnybone. 

How did you get into editing? What drew you to comedy work?

I started messing around with VHS to VHS decks in high school like any good Southern California kid who wanted to make terrible skate videos. Being able to move video and sound around was fun then and hasn’t gotten old yet. And as far as comedy goes, anything that lets me be around people that are trying to make each other laugh is as good as it gets in my book. Yay jokes.

Your parody work for SNL gets turned-around in an incredibly tight timeframe. Is it tough to be funny under such constraints?

While the timeline is always intense, it’s often oddly freeing. Knowing that there’s an immovable deadline forces decisions to be made quickly – if something makes everyone laugh, it tends to stay. In that way, it’s a nice contrast to projects that drag on through innumerable versions, where you forget what you thought was good to begin with.

What’s the normal timeline for the SNL work? Do you get to have much prep time?

The Film Unit doesn’t know what piece we’re going to be doing until late Wednesday night, which means the production team only has Wednesday night and Thursday to do all prep and pre-production. The Film Unit is led by our director Rhys Thomas, producer Justus McLarty, and DP Alex Buono. Needless to say, they and everyone working there are beyond incredible at what they do. We shoot everything on Friday, so I’ll start cutting Friday afternoon and go pretty much straight up until Dress and Air on Saturday.

A lot of editors tend to get pigeonholed into a single genre or style, especially in advertising, but I guess with the parody/spoof work you effectively work in different fields each week. Do you have to change your mindset? Is there a special skill to editing something funny?

Before I answer, a brief aside: Why the hell is it called “pigeonholed?” That’s just one of those terms that is accepted without a second thought. To the Internets!

“Originally, pigeonhole had only a literal meaning: a small recess or compartment for a domestic pigeon to roost or nest in, usually as part of a pigeon “loft” or coop. That term has been around since at least 1577. A little over a century later, in 1688, the term was also applied to similar small compartments built into desks or bookshelves for storing or sorting mail, papers or writing supplies.       

A third meaning, first recorded in 1864, and the one you most often hear today, is a “narrow, sometimes oversimplified category.” Used as a verb, it’s the act of placing someone in such a category (among actors, it’s also called type casting). The consensus among etymologists is that this usage comes from the original pigeonhole being extended metaphorically, with the meaning that the category the person or thing is being assigned to is as narrow and confined as a literal pigeonhole is.”

Now with that etymological itch scratched, I think it’s unfortunate that people often get immediately pegged as “the comedy guy” or 'the indie trailer gal” etc., etc. I think a good editor, even if they have genres and styles they might enjoy more than others, should be able to understand if something is working or not regardless of genre. Being able to bounce between different styles and parodies at SNL is one of my favorite aspects of the job. I would say that mixing up styles requires less an overall “mindset” change, and more just being aware and structurally focused on whatever you happen to be working on. Though there tend to be more fart jokes in comedy. Most of the time.

You’ve written and spoken a lot about editing in the past. How important is it to share experiences? Do you find yourself learning from speaking from fellow filmmakers?

I think that learning from other people’s experiences, combined with continually making your own stuff, is the best way to grow as an editor / filmmaker / any job that exists. I’ve been very fortunate to have learned from some incredible people over the years -- in my opinion, sharing knowledge always ends in a net positive. Unless you’re a Cold War spy or a mob rat.

You’ve recently signed up with P.S. 260 for commercial work. What made you make that move? What was it about P.S. that tickled your fancy?

I was previously represented by the wonderful folks at L.A.-based Hybrid Edit, and will always have nothing but great things to say about them. With P.S. 260, apart from having such a strong presence in New York and working on high quality projects with great agencies and directors, it all comes down to the people. Everyone on staff is a genuinely nice, talented, fun-to-be-around person. It makes coming to work a pleasure. 

Is there a big difference between ad-work and the previous stuff you’ve cut? What do you hope to bring over?

I think a good piece of work is a good piece of work regardless of the format. Especially now, where “traditional” advertising is continuously being re-defined, being flexible and open to work on anything is more important than ever. To that end, I can’t wait to have a hand in some groundbreaking GIF projects that can only be viewed on WhatsApp and Pinterest. Being over 23, just saying that sentence made my lower back hurt.

What’s the most important aspect of editing a good ad? 

Understanding the heart of what the director / agency / client is trying to achieve and then bringing something to it that ideally expands and elevates that core idea. 

It says on your website blog you like puns. What’s your best pun-based gag?

A couple years back I entered a local pun contest that a bar in my neighbourhood was holding. I was pretty confident going in, and submitted ten different puns, hoping that at least one would impress the judges. 

But sadly, no pun in ten did. (Streetlights flicker, three glass bowls shatter somewhere, the whole world explodes).

What’s up next for you?

Long term, more fun and intensity with this SNL season and then hopefully a lot of interesting commercial projects working with equally interesting, talented people. 

Short term, I’m gonna go make a sandwich.