_{^{Photo source: Spoiler Alert Radio. Nathan Delannoy – French Film Editor – La Classe Américaine, The Madness Between Us, Woke, Vestiaires, Tijuana Bible, Kitchen Brigade, Mami Wata.” Spoiler Alert Radio, February 23, 2024. Accessed August 26, 2025. https://spoileralertradio.libsyn.com/nathandelannoy}}

On August 14th, we had the chance to have an interview with film editor Nathan Delannoy, a professional who has dedicated more than two decades to shaping stories through the art of editing. Our readers might remember that in a previous article we covered C.J. Obasi’s film Mami Wata, which won Africa’s Best Independent Film at the 2024 All African Independent Film Festival (AAIFF Africa). Mami Wata is a striking piece of Nigerian cinema that was edited by Nathan Delannoy. As Obasi himself said: “I was really hoping for Nathan to agree on editing Mami Wata.” That hope turned into a collaboration that took the film to audiences around the world.

Surprisingly, Nathan Delannoy didn’t always imagine himself working in film.  “I was really good at math and science when I was a child… I loved film, but I never thought it would be a career.” He explained. Originally French, but spending many years in London – then moving to Paris where he entered the world of cinema. “I’ve been editing for about 20 years now.” He added, reflecting on his journey.

The turning point, he recalls, was watching Steven Soderbergh’s Out of Sight (1998), starring George Clooney and Jennifer Lopez. 

“I remember watching that and for the first time being conscious of what editing can do. The parallel editing, the cutting of the scene when the characters are talking about what they’re going to do. Then you see them doing it at the same time—I just thought, wow, editing is a very powerful tool.”

For Delannoy, that realization was life-changing: editing was not only technical, it was a form of storytelling with its own creative power. “It’s a very powerful process when you put two pictures together and a new meaning appears.” He said.

Throughout the interview, it became clear that Delannoy’s technical precision and artistic vision is exactly what editing requires. “To be an editor, you need both. It’s 50/50.” He stated firmly. This balance is what allows him to follow thethe director’s vision into a coherent, emotional experience for audiences.

One of the things he enjoys most about his job is working with other creative minds. “Working with directors and creators is very interesting. These people work hard and have so much talent—it’s a real privilege,” he told us. At the same time, he admits with a laugh that he loves the moments of challenge. “I also quite enjoy it when we have a problem to solve.” In short, it seems that for Nathan Delannoy, the job of a film editor never gets boring. 

The path of editing is  very rarely a smooth process. Sometimes things don’t work as they were originally imagined or planned, and new solutions have to be found in the editing room. “That’s part of the job that I enjoy–-it makes the work dynamic, so you never fall into routine.,” Hhe explained. Of course, reaching agreement is not always easy, so compromise becomes essential. 

“Directors often live with the script for a long time, so it can be difficult to bring them to another point of view. But finding that balance together is what makes collaboration rewarding.”

When it came to Obasi’s Mami Wata, Delannoy found himself in perfect alignment with the director’s vision. “We found the right style for Mami Wata very quickly and were in agreement almost immediately,” he recalled. One distinctive choice was the use of long fades of the ocean, a technique developed during editing. “That really added to the magic of the film,” he said proudly.

Despite its modest budget, Mami Wata has traveled far, reaching audiences around the world and screening at Sundance. For Delannoy, that journey is one of his proudest achievements. He said: “It was a great adventure. It’s a really important film for Nigerian cinema. I’m very happy to have been part of it. To have met C.J., who trusted me with it—it’s a gift.”

Film festivals have played a crucial role in the success of both Obasi and Delannoy. As Obasi noted: “Film festivals have certainly changed my life. I don’t know how else I would have made it to where I am if it weren’t for them.” Delannoy agrees that festivals are vital, especially for independent filmmakers, but he also pointed out a gap in how recognition is distributed.

“Editors… we are often forgotten people—but it’s okay, we like it that way,” he laughed. Still, he admitted that he wishes festivals would highlight the contributions of post-production professionals more consistently. “Many festivals mention the post-production team, but many do not. In my opinion, they should always be included, because it’s the whole team who makes the film happen.”

Our conversation with Nathan Delannoy revealed a professional who is not only deeply skilled but also genuinely passionate about the collaborative process that defines cinema. His career is proof of how editing is much more than just “cutting film” it’s about rhythm, storytelling, and creating meaning from images. Through his work, Delannoy demonstrates just how powerful editing can be in shaping the stories we see on screen.