This is an article based on an episode of Manhattan Edit Workshop’s “Talkin’ MEWShop.” You can watch the conversation by following or subscribing to the show HERE.
In the latest edition of Talking MEWShop, Raphi Salem welcomed editor Susan Vaill, ACE, alongside Manhattan Edit Workshop Founder Josh Apter and President Jason Banke, for a deep and personal conversation about Vaill’s journey through the world of editing—from her first childhood experiences on set to her current status as a sought-after editor across both drama and comedy.
Josh Apter opened the discussion with a look back at MEWShop’s origins: from a modest Final Cut Pro class in Lower Manhattan to a respected training hub with an Artist in Residence program that’s attracted major names like Susan. Apter noted the program's emphasis on the “why” of editing, praising the authentic conversations that have become the heart of MEWShop.
Susan's own story begins in an unlikely way: as a Double Mint twin and child actor in ‘70s television, including the likes of Love, American Style. But it wasn’t the acting that intrigued her—it was the behind-the-scenes magic. In high school, she found herself captivated by a friend editing a music video using two SVHS decks. That moment sparked a passion. She went on to study art history and film theory at Williams College, eventually returning to L.A. to attend USC film school.
There, she was mentored by Bill Haugse, editor of Hoop Dreams, who encouraged her to dive into documentary editing. That experience, she says, trained her to “find the story,” a skill that continues to serve her well. “Documentary scoring,” she notes, “is often beautiful and subtle—it doesn’t hit you over the head.” That sensibility has shaped her editing style even in scripted TV.
As luck—and preparation—would have it, the early 2000s boom in reality TV gave many documentary editors a career runway. Susan worked on shows like Extreme Makeover: Home Edition and Project Runway, which she credits with providing essential experience and helping her gain union status.
Her real break came when she was hired as an assistant editor on the pilot of Grey’s Anatomy. The collaborative, team-based nature of television post-production clicked with her athletic, team-oriented mindset. She stayed with Grey’s for 11 years, cutting 70 episodes and finding joy in its blend of comedy and drama.
Eventually, feeling the show had shifted, she pivoted toward comedy, thanks in part to director Claire Scanlon, a former colleague from a documentary project who later recommended Susan for Space Force. That led to a full-circle moment: working alongside veterans from The Office, a show she never edited but had long admired.
Vaill reflected on the challenges of moving between genres and the importance of mentorship, perseverance, and community. “You never know which job is going to circle back,” she said. And for those wanting to break into comedy editing, she had this advice: “Take an improv class, study sketch writing—learn their language.”
As always, Talking MEWShop delivered not just an insider’s view of the craft but a reminder that editing is as much about human connection and timing as it is about technical skill.