Hi and welcome to the Team Deacons podcast. This podcast is a dialogue between

Roger and James Deacons often joined in the conversation by a guest.

It's very informal, and we never know where it will go.

We're connecting through Zoom,

so bear that in mind when you hear the audio. If you'd like to submit a

question or topic please do so by emailing pod, p-o-d at Roger Deacons.com.

Today's subject is editing and we have a great guest to take us through it. We've worked with him two times and he has an impressive list of credits which include

Hunger, 12 years of slave, Sakario, Blade Runner, 2049, and the upcoming dune.

We're happy to welcome our friend Joe Walker today.

Joe, thanks for joining us.

Hi folks, yeah, nice to be here.

What we generally start with is, could you tell us how you got to where you are?

Did you at age five think I want to be an editor or was it always your interest or did you have a crooked path?

I'm always very wary of middle-aged men talking about their

childhoods.

But it is true when I was about my parents were given an 8 millimeter movie camera

Beautiful little like Kodak thing and standard eight and I got interested in that and I used to play Keystone Copp's films on a slow motion setting on a

U-Mig projector and I used to play my father's bargaining records really slow and I kind of get into this kind of strange funk, you know,

it was some early depression of an eight year old listening to all these slow motion stuff. But I got really fascinated by it, but it was very true that in that moment I was kind of interested in both sound and image and I've kind of been split into as throughout my adult career

and whether to be a composer or an editor and I've done both to a great degree so I'm still sort of feel like I'm a

composer that walked into the wrong room.

So how did you start out though? Did you start as being an assistant editor or did you start as on the composing side?

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