“My Emotion Is My Key, My Strength, My Eyes and My Ears”: Adriana Legay on Editing

Adriana Legay is a Paris-born editor celebrated for her rhythmic and emotionally-charged visuals. She is a founding partner of Collectiv Paris and represented by Final Cut. Her multicultural upbringing in a music‑and‑dance-loving household instilled a lifelong passion that infuses her editing with a choreographic feel, ‘when editing, I’m dancing,’ she says, where she discovers story through emotion, pacing, and intuitive flow

At just 14, a serendipitous meeting with Jean‑Baptiste Mondino on a Vanessa Paradis shoot confirmed her path. She studied cinematography at ESRA Paris and mastered Avid Media Composer, a tool she describes as ‘love at first sight’, leading to early roles cutting music videos for artists like A$AP Rocky, Pusha T, The Blaze, and more.

Over the years, Adriana has earned her reputation in the high-fashion and beauty spheres, regularly cutting major campaigns for Dior, Givenchy, Yves Saint Laurent, Dolce & Gabbana, Apple, Diesel, Heineken, Canal+, Orange, Burger King, Paco Rabanne, Coca-Cola and Netflix. She frequently collaborates with top-tier directors including François Rousselet, Megaforce, Martin Werner, James Gray, Terrence Neale, and Bart Timmer.

In 2021, Adriana joined Final Cut’s roster, where she continues to bring her signature blend of vibrant rhythm and storytelling to global commercial projects. Recently, Adriana has picked up several awards and recognitions for her work on Netflix’s ‘You’re Not Ready’ and the music video ‘Gangsta’ by Free National ft A$AP Rocky including The Clio Awards, The Webbys, ADC, Gerety Awards, and Creative Circle.

Adriana sat down with LBB to discuss letting emotion guide the edit, her passion for music and how it fuels her craft, as well as the most rewarding moments of editing.

LBB> The first cut is the deepest: how do you like to start an editing project?

Adriana> I like to start a project as any viewer would.

In general, I prefer not to know anything about the project. I don’t want to read the treatment or look at the storyboard. I want to discover the footage and let my artistic emotion flow freely. That’s what guides my selection choices. Then my experience leads me toward directions that I feel might appeal to my client.

I review the footage day by day and in the order it was shot, to understand the chronology of each day and to sense what happened. When I don’t like a take, when I don’t connect with the actor’s performance, and I notice that the next take was altered by the director, I feel that we are aligned, and I understand the challenges of their shoot and where they want to go even without having spoken to them.

LBB> Non-editors often think of editing just in technical terms but it’s integral to the emotion and mood of a film. How did you develop that side of your craft?

Adriana> I am a bundle of emotion – highly sensitive – and I let that guide me a great deal. I’m deeply empathetic, constantly putting myself in other people’s shoes and sensing their comfort, discomfort, and what they’re going through. I can’t help but tune in to what they feel.

My emotion is my key, my strength, my eyes and my ears.

At first, I see an image purely through emotion. I feel the magic of the moment.

LBB> How important is an understanding of story and the mechanics of story?

Adriana> A film is, above all, a story – and that is my focus. When I begin a project, I ask myself who I’m working for, what they want to express, why it matters, and what the film’s core message is.

I review the footage without reading the storyboard or receiving any explanations, to ensure that I can grasp the story instinctively and without influence.

Once I’ve gone through everything, I speak with the director and ask them to walk me through their narrative. Sometimes I discover that I’ve misunderstood a section.

This process allows me to immediately address the issue: Why didn’t I understand that moment? Is something missing? And how can we resolve this lack of clarity?

LBB> Rhythm and a sense of musicality seem to be intrinsic to good editing (even when it’s a film without actual music) – how do you think about the rhythm side of editing, how do you feel out the beats of a scene or a spot? And do you like to cut to music?

Adriana> Music is my first passion. I’m a dancer, so I don’t think about rhythm – I feel it and dance with my images. Musicality is intrinsic to editing. I believe all editors have this within them. And I love editing to music; it’s truly a joy.

LBB> Tell us about a recent editing project that involved some interesting creative challenges.

Adriana> The Free Nationals music video was a real challenge for me on several levels.

First and foremost, it was political. François Rousselet’s brilliant idea of highlighting the violence in the suburbs through the eyes of children deeply moved me. At the same time, I was constantly aware of the risk of enjoying these beautiful, innocent images without honouring the political message. I didn’t want to let myself be carried away by the pleasure of editing a hip-hop video (one of my favourite genres) or play with the clichés of the hip-hop videos I grew up with. I had to remain vigilant with my emotions – allowing part of me to resonate while another part stayed focused on exposing the issue.

I loved collaborating with François again; we spent a lot of time discussing and exchanging ideas on this delicate balance.

LBB> How important is your relationship with the director and how do you approach difficult conversations when there is a creative difference of opinion?

Adriana> I don’t have a specific way of approaching a director.

My work is about listening. I’m there to listen to the director and help guide them toward their vision, their dream, their film.

Every director is different, so from the start, I try to sense who they are and figure out how to adapt to their fears and desires.

But when disagreements arise, I speak up and share my opinions. If I’ve been called in, it’s to give my perspective, and that often leads to a meaningful discussion. I enjoy debate. I’m passionate about sociology, psychology, and politics… My work is a combination of art, listening, and dialogue.

LBB> In the US we know that editors are much more heavily involved across the post production process than in Europe – what’s your favourite part of that side of the job?

Adriana> My favorite part of this process is giving guidance. I’m a big fan of advertising. I first enjoy the creative collaboration with the director, developing a story full of emotion that serves the brand.

Then comes the phase of advising and listening with the agency and the client. My ultimate goal is for everyone to be happy with the film – including the director.

I really enjoy discussing with my team the commercial and emotional impact of our work. How can we make the film as effective as possible across the entire campaign? I like thinking with them about the bigger picture: the story, tagline, product, packshot…

LBB> What’s harder to cut around – too much material or not enough? (And why?)

Adriana> For me, having too much material is harder, because it raises more questions… Which direction should I take? Where should I start? The beginning is more complicated, but the end result is usually better.

For me, it’s the hardest part – but also the most rewarding!

LBB> Which commercial projects are you proudest of and why?

Adriana> I’m not really fond of the notion of pride. I’m not someone who feels proud of themselves. I question myself constantly and strive to always give my best. But where exactly is ‘the best’?

What I do love, however, is life, art, and the sense of adventure that my work brings me. I must admit that all my projects with François Rousselet check all these boxes for me. His standards are incredibly high, he provides me with stunning, meaningful images, and it’s my job to find the path alongside him. My favorite playground.

My first project with Jean-Baptiste Mondino, ‘The One’, was also one of my favorite experiences. It was my first live edit. I was able to cut the film in real time and share my ideas during the shoot. We were creating the film together. He would think alongside me… and sometimes I could even guide him. I loved it.

LBB> There are so many different platforms for film content now, and even in advertising something can last anything from a few seconds to a couple of hours. As an editor, are you seeing a change in the kind of projects you’re getting from brands and agencies?

Adriana> In the past, I would edit a 30-second spot and its longer version. Today, as an editor, I have to think in terms of the entire campaign. There’s a long version, a 60-second, a 30-second, several 15-second spots, and six teasers…

How will I communicate the story? The long version will be the main film, and I consider the strategy for all the cutdowns. My goal is for each cutdown to make the audience want to watch the full film. No cutdown can be neglected. I now have to think in terms of the campaign as a whole.

LBB> Who are your editing heroes and why? What films or spots epitomise good editing for you?

Adriana> A hero, for me, is someone who saves lives – so I don’t really have a hero! But I’m a fan of many editing artists. This year, I’ve been particularly admiring Carlos Font Clos for his explosive emotion that makes images dance.

I also greatly admire Juliette Welfing, editor of Jacques Audiard’s feature films, and Thelma Schoonmaker, editor for Martin Scorsese.

LBB> How does editing in the commercial world differ from the film and TV worlds

Adriana> Not much, except for timing.

In advertising, I serve the brand. In a feature film, I serve the director, who also has extremely demanding producers and distributors.

TV is a medium for information. For me, it’s not art, so it’s not comparable.

LBB> Have you noticed any trends or changes in commercial editing over recent years

Adriana> Since the business worldwide isn’t at its best, budgets are tighter, and creative ideas are sometimes less explosive.

The world is changing, and advertising is too. I feel that it’s patiently waiting – like all of us – for a new turning point, more explosive than ever. Brands will never stop striving to be creative to stand out, and advertising remains a true hub of ingenuity.