From Love Island to Children in Need with Editor Daniel R James
When you think of artists who are in control of your emotions, your first thought may not be of an editor but it should be. Daniel R James is a master of this. What is equally impressive is the fact that the productions which populate a good portion of his resume are not the ones that are the status quo. The X Factor, Britain’s Got Talent, and others of this ilk may not feature Oscar nominated actors (though both have multiple BAFTA awards to vet their critical and public renown) but they immediately demonstrate an intense emotional spectrum which leaves audiences riveted. Love Island (also a BAFTA award winner) was an instant success in the UK upon which Daniel served as an editor and has been translated recently for American and Australian audiences, with the editor in tow. As one of the secret weapons contributing to the popularity of Love Island, Daniel R James welcomed the challenge of taking the Love Island formula and fashioning it in a manner tangible to these other countries. America in particular required a vastly different approach. With this program and others, Daniel continues to prove that there’s much more to great storytelling than the information itself; presentation is paramount.
In preparation for the US launch of the massive UK television hit series Love Island, ITV America executive producer Simon Thomas and Iona MacKenzie (Executive Producer on programs such as Love Island UK and The X factor) hired Daniel as editor to help ensure the proper tone. Daniel had left an indelible mark on the UK Love Island with an intelligent use of commercial music in his edits which led the press to bestow the label of “soundtrack to your summer” on the production. This signature audio approach was simply a complement to his storytelling skillset which was often utilized for the break-ups, disputes, or recoupling events which are the apex of the show storylines. Love Island is sustained by the romance and turmoil which ends the trysts that happen in this remote paradise. Mr. James had also notably streamlined an editing process for Love Island UK which saved precious time in the turnaround. His substantial contribution to this end has been used in subsequent international versions of the show.
Daniel was part of the team which included BAFTA nominated director Paul Newton (Dragon’s Den, I’m a Celebrity… Get Me Out of Here!, and Antiques Roadshow) and Executive Producers Mandy Morris, Simon Thomas, Ben Thursby, and Iona MacKenzie; tasked with translating the British formula of Love Island into a successful program attractive to an American sensibility. It’s a goal not as intuitive as one might think. While UK music license agreements apply in a blanket manner, American television does not use this all-encompassing process. The stylized copious music beds were drastically reduced from the very beginning for the US version. There’s also a notable conservatism to American television as compared to its UK counterpart. The swearing and nudity of Britain’s Love Island would also be impossible to present due to US laws.
To help American audiences relate to the show and feel a sense of ownership, one of Daniel’s major tactics was to make the graphics relatable. He notes, “I really enjoyed the chance to refresh graphics and create a unique visual identity for the US version of the show. I designed a clean modern look that emulated how people interact with social media apps on their phones, by animating the participants’ photos in a grid (like Instagram) and the scrolling in a similar style to how a user scrolls on a phone.” Of course, his work far exceeds this simple explanation. Daniel recut the graphics for individual contestants on the show to give them a specific style and identity, often recutting footage for pacing and comedy; such as when Zac discusses giving a “blue steel face.” From the solitary moments of Zac to major series events like the “recoupling montage” or the “final vote package”, Daniel’s contributions lifted the mundane to the intriguing and the interesting to become transfixing. An essential attribute for making a show like Love Island connect with the proper fan based is understanding the viewers themselves. Daniel notes, “Love Island is an aspirational program that appeals to the young Instagram generation whom interact with the world and socially with others differently. Love Island has a relatability to this generation in particular. It features people that are from this generation, has an openness about sex that previously was not discussed openly, and gives an empowerment to young women. It reflects the modern dating scene i.e. ‘I’ve got a text’ like dating apps such as Tinder.”
Confirmation that this acclaimed British editor is able to calibrate both ends of the emotional spectrum is found in his work for the BBC charity telethon “Children in Need.” Mr. James contributed his talent to cutting an appeal featuring Chris and Steph whose two sons (Harry and Cody) both suffered from the rare skin condition Epidermyelitis Bullosa. During their short lives, both boys needed round-the-clock care which they received from Julia’s House Children’s Hospice. This organization offers respite and end of life support for children with life-limiting conditions. Daniel’s applied his talent to create an appeal which resembled a mini-documentary in hopes of dealing with such a sensitive subject matter while capturing the attention of audiences who might support such groups. Though not part of a huge network production, the editor finds this work immensely fulfilling and relates, “Editing on Children in Need gives one a special feeling. It was a much smaller team, and through my producer we were in direct contact with the contributors. This meant that in the edit’s we were extremely sensitive to the content we were cutting and the families and careers we were representing. It was rewarding to be allowed to help those who could benefit from our work.”
