I had the opportunity to discuss creative processes, collaboration, and more with editor Ky Kenyon. Ky most recently brought his talent and expertise to Netflix’s, Love, Death and Robots as an assistant editor working alongside a talented team of creative animators and individuals. Ky received an Annie Award Nomination for his work on the show, in particular the episode Pop Squad.
Throughout his career Kenyon has worked on numerous projects including, Mariah Carey’s Magical Christmas Special and Kanye West’s Jesus Is King IMAX film. Ky has continued to showcase his skillset in the field by constantly challenging himself and approaching each project in a collaborative, unique way. We had the opportunity to discuss some of his mentors in the industry, the collaborative environment of editing, and flexibility in an ever-changing environment.
Hi Ky, how are you? I want to get us started here by asking about your career journey into editing! Are there any milestones or mentors that you think of in particular?
Hi! I’m doing well. Thanks for asking! Off the bat I’ve been really lucky to work with a handful of really great post supervisors. Dan Kuba (The Jim Jefferies Show), is the man! He set up such a great environment for a post team, and I’ve learned so much from him. Another great post supervisor I’ve worked with is Simon Fuchs (Kanye West’s Jesus Is King IMAX film). Both he and Dan are such great communicators, and that’s such an important thing when it comes to organizing a post team. Those guys are total pros! Editing wise I’ve worked on a few shows with editor James Collett. The shows he brought me on really expanded my experience in the industry (Mariah Carey’s Magical Christmas Special on Apple+ and David Blaine’s Ascension a YouTube Original). Another great editor that has really impacted me is Ravi Subramanian. I also worked with him on David Blaine’s Ascensionand after that show, he brought me onto 9-1-1 and 9-1-1: Lone Star on Fox. He’s a genius problem solver, and you absolutely have to be that to be an effective editor. I’ve also admired so many industry pros from afar. One of them being editor, Amy Duddleston, ACE (Mare of Easttown), and another being Liam O’Donnell (Writer/Director of the Skyline trilogy).
Love, Death and Robots is unique in the way it spans multiple genres in one show; what was the collaborative environment like working on the show?
The collaborative environment on Love, Death and Robots is one of my biggest draws to the show. Getting to work with the talent behind this show is an incredible honor. On top of that, there are animators from all over the world coming together to build these epic worlds and tell these amazing stories. They all have unique perspectives on animation and life that get woven into the show. It adds diversity and richness to the show that shines through in the different styles in each episode.
Editing requires you to be flexible with your creativity; how have you learned to challenge yourself in positive ways when it comes to your craft?
Creative work definitely calls for being flexible and often taking a leap of faith. Knowing you have a toolset at your disposal, and you can handle anything that gets thrown at you is important. Mindset is definitely key. Another big key is leaning on other members of the post team. I’ve really learned this over the last couple years. There are times where you are alone in a dark room, and there are times when you invite another editor in. I think it’s always beneficial to get feedback on your work from your peers on the team. It’s a great way to ensure that you continue to grow and gain knowledge in anything you do.
How have you seen your field shift in the last few years, and where do you see it continuing to go?
The biggest shift has definitely been the remote workflow. At the beginning of the pandemic the industry had to really adapt. I was very lucky to be on a couple shows that really embraced the remote workflow really quickly. It was a bit of an adjustment, but over the last two years the technology has gotten really good. Entire post facilities have turned into storage closets filled with headless (monitor-less) computers. I see this workflow continuing even as we start going back into the office. The option of being remote has so many benefits. With the long hours that post has, it has been really great getting to spend more time with family and our pets!
What’s next in your career journey? Anything you’re excited about in particular?
I am of course excited to continue my work on the next season of Love, Death and Robots and continue in the Fox 9-1-1 universe. I am also working on a feature film this year that will be my directorial debut. I’ll be working on the feature from beginning to end and using everything I’ve learned thus far to bring one of my stories to life. It really feels incredible to have the opportunity to make something of my own design alongside my trusted colleagues. It has always been a big goal of mine to do this, and we begin shooting this summer. I am very excited to see it all come together.
Finally, how can we connect with you to stay up to date on your latest projects?
You can connect with me on Instagram @kykenyon and check out my website, kykenyon.com. All my latest projects and our feature information will be updated there as it develops! Thanks so much!
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Thanks for reading! Check out more of Ky’s work on his IMBD page.