Editor - Karen Crespo

In this episode, I chat with award-winning editor, Karen Crespo, who has been responsible crafting some of the most memorable moments on our favourite shows such as Masterchef, Australian Survivor and Old People’s Home for 4 Year Olds. 

I find out about Karen’s early beginnings in TV and how her creative style and ability to carve out emotional moments became renowned in the industry. 

Transcript

00:00:01:18 - 00:00:25:05

Hayley Ferguson

Hi, I'm Hayley Ferguson. And this is Beyond Reality, the podcast that explores the world of television production by chatting to the people behind the TV shows you love. In this episode, I chat with award winning editor Karen Crespo, who has been responsible for crafting some of the most memorable moments on our favourite TV shows, such as MasterChef, Australian Survivor and Old People's Home For Four Year Olds. I find out about Karen's early beginnings in TV and how her creative style and ability to carve out emotional moments became renowned in the industry.

00:00:33:24 - 00:00:41:04

Karen Crespo

Being emotionally connected with your material does actually emphasize a lot more in your cuts. It's pretty crucial.

00:00:41:24 - 00:00:53:08

Hayley Ferguson

Hi, Karen. 

Karen Crespo

Hey Hayley. 

Hayley Ferguson

Ever since we worked together, I've wanted to get you on the podcast, and you're actually the first editor I've spoken to, so I'm actually really excited to chat to you today.

00:00:53:11 - 00:00:58:21

Karen Crespo

Oh, I hope I say good things that I can't shame all other editors.

00:01:00:14 - 00:01:06:14

Hayley Ferguson

The question I always tend to ask people when they come on the podcast is…Did you always want to work in TV?

00:01:06:15 - 00:01:27:22

Karen Crespo

Essentially, no. When I was younger, I was a very artsy kid, very creative, and, you know, participated a lot in those dramas and, you know, drama productions at school and musicals. And, you know, as a teenager, I would have like a little camcorder and would make like my little drama friends do like short films with me and, you know, would cut them and create little music clips and stuff.

00:01:27:22 - 00:01:36:00

Karen Crespo

So, you know, I was really into film and I knew I wanted to get into the film industry in some way or another, but it wasn't exactly TV straight away.

00:01:36:07 - 00:01:40:05

Hayley Ferguson

And so did you like did you study it? Did you go to university?

00:01:40:16 - 00:02:04:04

Karen Crespo

Yeah. So after I graduated high school, I went straight into a film school. So Sydney Film School in Redfern and it's a, it's a small international school, but it was renowned for its working of 16 mil film and editing in 16 mil film. So you would have classes where you'd have to physically film all these Steinbeck's these old machines.

00:02:04:04 - 00:02:22:16

Karen Crespo

And in those courses, I don't know, I found a real appreciation of cutting and like how decisive you had to be on making a cut, like your intention of that cut. Because if you got it wrong or like, you know, you can't you can't just free play like, you know, it took it would take forever to undo what you did.

00:02:22:16 - 00:02:46:09

Karen Crespo

Like literally on stage on sticky tape the cut and they'd like try to break it. It's a mess if you, you know, if you're not knowing what you're doing. So, you know, I found through that that I really appreciated editing and the intention of the cut. And I just found whilst I was in the course at that school, I really enjoyed editing and I was doing more like the documentaries and the drama projects that they had.

00:02:46:09 - 00:02:48:18

Karen Crespo

And yeah, I just knew that that's where I wanted to be.

00:02:48:18 - 00:02:56:18

Hayley Ferguson

That's an incredible introduction to the world of editing. I mean, not many people in our generation, I guess, would have that experience.

00:02:56:18 - 00:03:15:18

Karen Crespo

I know. And unfortunately, I don't think they continue that in the in their courses anymore because they are hard machines to maintain like they're they're really old machines. So I think they've had to scrap that part of the program, unfortunately. But I was very fortunate to have that time with something like that and really appreciate how it was done back in the day.

00:03:15:18 - 00:03:20:03

Hayley Ferguson

And I guess getting behind an Avid like anything after that is like a piece of cake.

00:03:20:05 - 00:03:26:19

Karen Crespo

Yeah, well, I mean, you know, you really loved the undo button, like, you know, Control Z. Like, it's, it's your friend.

00:03:26:19 - 00:03:29:19

Hayley Ferguson

So you graduated and what happened next for you?

00:03:29:23 - 00:03:30:23

Karen Crespo

So, I mean.

00:03:31:02 - 00:03:32:00

Speaker 3

That school was.

00:03:32:00 - 00:04:01:21

Karen Crespo

Basically more, more round film and drama and documentaries so far from the reality TV or TV world. But once I did graduate reality TV was really in full swing. So, you know, you had the shows like MasterChef and Big Brother coming up. So once I graduated, I managed to get like a contact from a friend to a small post-production house that was doing a shark cover over the name of it.

00:04:01:21 - 00:04:24:12

Karen Crespo

But it was one of those shows that was trying to blend all those formats, like it was a cooking show, but a dating show kind of, yeah. So I managed to get on board with that as a little assembly, ate it up and from there, actually, I managed to impress the price producer that was on that. His name's Rob Wallace and he was going to be the executive producer of the next series of MasterChef after he finished this project.

00:04:24:17 - 00:04:37:10

Karen Crespo

And so he asked me along to be an assembly editor for that, for the series. So that was great because, you know, it really got my foot in the door by that point to work on like the really big shows and the rest is history from that.

00:04:38:12 - 00:04:41:22

Hayley Ferguson

So going back, what year was that? What year did you graduate?

00:04:42:07 - 00:04:42:24

Karen Crespo

I think it was like two.

00:04:42:24 - 00:04:45:24

Speaker 3

Thousand and nine maybe.

00:04:45:24 - 00:04:46:24

Karen Crespo

Or ten, yeah.

00:04:47:11 - 00:04:53:04

Hayley Ferguson

Yeah. So it was yeah. It was a big time in reality TV. I mean, I feel like it really hasn't stopped.

00:04:53:04 - 00:04:53:21

Karen Crespo

No, it hasn't.

00:04:54:18 - 00:04:55:05

Speaker 3

Debased.

00:04:56:22 - 00:05:16:03

Hayley Ferguson

And so how did you find it? Like, I mean, when you were at film school and you were obviously, you know, studying all aspects of film production when I guess got the editing bug there, you know, what did you have in mind? Were you thinking about reality TV? Were you thinking more about film? Like sort of how did how did that come about?

00:05:16:05 - 00:05:32:13

Karen Crespo

Well, I suppose, like when I first went into the film school, you know, I obviously wanted to be like the next big director or whatnot. Like, you know, the next Quentin Tarantino. And I think everyone from that school was like that. And the reality is that only probably 1% of those people would actually get to that sort of position.

00:05:32:13 - 00:06:07:21

Karen Crespo

But within the the course, you know, like it wasn't just purely based on like what drama and film is like or what documentaries are like. You know, it was essentially honing and understanding what storytelling is. And, you know, even though I didn't think of going into reality TV at the time, I was learning a lot about how to craft and tell a story visually, musically, you know, using all those types of tools in that medium to to essentially tell a story.

00:06:07:21 - 00:06:15:01

Karen Crespo

And so I found that that that I was able to take into that workforce once I got into into the TV industry.

00:06:15:06 - 00:06:20:19

Hayley Ferguson

Yeah, right. Just to circle back, could you explain like what an assembly editor does?

00:06:20:22 - 00:06:45:08

Karen Crespo

Yes. So an assembly edit kind of like and assisting the the editor, though, you would usually get given a very rough scene either by the producer or the the post producer or the editor of what they kind of wanted from a scene. And it's usually just like a few video video synched with some audio and you know, with Mark is telling you where certain things are happening.

00:06:45:08 - 00:07:04:24

Karen Crespo

Well, can we hold on this a bit longer and whatnot? So you're you're trying to produce a little bit more the cut to to give back to the editor. Yeah. So it's usually just to try and assemble the same with a bit more of, of the vision and a bit of the pacing. It depends on the edit I like.

00:07:05:00 - 00:07:33:22

Karen Crespo

Sometimes I like you to go full rain and thankfully I had quite a few editors who are like go nuts, throw, put some music and put some sound effects in. They let you give you that chance to try and actually really play with the cut to really understand what you're doing. And sometimes, you know, if those editors were kind enough, they would give you some constructive criticism back, which is really, really helpful to an assembly editor is a very key role in helping developing editors, like getting them to understand what a role of an editor is.

00:07:34:02 - 00:07:36:15

Karen Crespo

So it's kind of like a training chip kind of thing.

00:07:37:03 - 00:07:37:14

Speaker 3

Yes.

00:07:38:19 - 00:07:43:17

Hayley Ferguson

And do you remember any constructive criticism you got back in the day?

00:07:43:20 - 00:08:02:16

Karen Crespo

I had a few like those. Some where I mean, oh, don't I like toot my own horn, but like, you know, there was moments where like an editor had perhaps suggested or I wouldn't of maybe thought that like put that music there and then let that hold for so long before the next part of the next track came in.

00:08:02:22 - 00:08:25:19

Karen Crespo

And I was like, Oh, okay, I understand. You're like he was like on its to to it was to edit out like you know it was just prolonging the moment too much you know it needs to be snappy, it needs to be fast. But you know, that ended up going into the screening what my cup was anyway. And so then the execs and stuff like that, they liked what I did, you know, so I would definitely would take on everything that the editors would say.

00:08:25:19 - 00:08:30:15

Karen Crespo

But it gave me enough confidence to also try something different. Try something new.

00:08:30:21 - 00:08:31:08

Speaker 3

Yeah.

00:08:31:08 - 00:08:34:20

Hayley Ferguson

And how long did you spend working as an assembly editor?

00:08:35:00 - 00:08:54:12

Karen Crespo

Not too long, actually. Only six months. Which is crazy, because I probably could have. I could have still learned a lot, but they were enjoying what I was doing so much that they promoted me straight into a junior editor, which was great because then I would share an episode with a full time editor and I would still get a bit of mentoring from them, which was great.

00:08:54:12 - 00:09:06:06

Karen Crespo

So that was that was helpful. But I was an editor, a full time editor, all within a year of working in, in TV. So that, that was pretty cool. I can't complain about that going straight into it.

00:09:06:06 - 00:09:15:13

Hayley Ferguson

Yeah. Wow. And what was the first job you had as an editor like when you you were the main one. You know, you had an episode like what was that show?

00:09:15:17 - 00:09:43:02

Karen Crespo

So it was MasterChef. So I'm very thankful for MasterChef because it was a show that I grew in. So as an assembly, as a junior, like the first junior job I got was with Master Chef. And then the first editing job I got was with Master Chef again. So it was good having the consistency of knowing a format of a show to, to work and in to really upskill my boss.

00:09:43:02 - 00:10:00:15

Karen Crespo

And then like, you know, because I knew the show so well, like the format of it so well that I knew then how to bend it as well, like bending the rules of it. Yeah. So that was pretty lucky that I had that whole process from the beginning into, into what then essentially kicked me off into my career as an editor.

00:10:00:22 - 00:10:07:17

Hayley Ferguson

Yeah. Wow. I mean, a master chef is one of those shows. They have so many episodes, so there's a real formula to that show.

00:10:07:20 - 00:10:29:12

Karen Crespo

Yeah. Yeah. It's good to to understand that I think you're having something that was so like, if it's not broken, don't fix it. Kind of show. Like, there's a reason why it's gone on for so long, why it's so successful. There's something about that formula that really works. And so understanding what that is and applying that every time you're working on the show, it helps you out a lot.

00:10:30:00 - 00:10:39:13

Hayley Ferguson

Yeah. And you know, in the job of an editor, I guess, can you just explain like your process as an editor and sort of, you know, what you actually do?

00:10:39:14 - 00:11:22:22

Karen Crespo

So I would work fairly closely with a post producer such as yourself and essentially the post producer would try and map out on the timeline what are like the key story arcs of what's happening in that episode. So that would put a lot of actuality or or interview grabs that kind of play out how, how that episode is going to go and essentially you get that gets given to me and I would kind of sort of work on trimming the fat, trying to make sure things that aren't too airy or try to clarify things or spice things out or certain things like the rhythm of of a saying, if something is quite frantic, you know,

00:11:22:22 - 00:11:47:22

Karen Crespo

trying like play with what that energy is like in the court with a bit more of a frantic court or spacing something out if something's really suspenseful or something that just really needs to land, you know, playing with that and spacing out the scene that way. And then, you know, you're trying to go through the vision and seeing what is visually going to help you tell that story, whether it's like certain looks or like Jeeves and whatnot.

00:11:47:22 - 00:12:09:10

Karen Crespo

And then also a big part of reality is the music as well. And so you'll you'll be fine a lot with trying to find the particular track to convey what's happening in that scene emotionally or tonally. And you are working a lot back and forth with your post producer to kind of really find those scenes and then eventually that gets screened.

00:12:09:16 - 00:12:30:14

Karen Crespo

So your execs will also have notes and sometimes you have to unstick stuff or like completely start again. Like, you know, that process is, it's a bit of a, a hard, hard one to face sometimes when you have to start from scratch. But, you know, it happens like you're trying to convey a story that you're trying to tell the story and there's a certain viewpoint that you're seeing it from and you're trying to tell it that way.

00:12:30:14 - 00:12:47:21

Karen Crespo

And maybe someone comes in and says, Oh, actually, can we see it from this person's perspective instead? And so it kind of you're going to have to shrink shift your scenes around to make that part of the story work. So there's that yet there's a lot of back and forth work. It's never just start to finish, unfortunately. Yeah, it's a lot of a lot of work.

00:12:48:07 - 00:13:02:02

Hayley Ferguson

Yeah. And I guess to put it simply, I guess the post producer will give you a story which is essentially the the dialog, a really rough cut.

00:13:02:02 - 00:13:06:09

Speaker 3

You know, you're going to wrong is a.

00:13:06:09 - 00:13:09:06

Karen Crespo

Very, very rough cut. So you're pretty good.

00:13:09:24 - 00:13:33:21

Hayley Ferguson

Thank you. Yeah. So like a producer will give you their sort of rough version of events. It'll be a story cut essentially of the story that we're trying to tell. And then your job is. Yeah, the pacing and then adding the music. And I think what I guess a cliche saying in industry is like the editor will make it sing.

00:13:34:06 - 00:13:36:06

Karen Crespo

Yeah, make it sing… work your magic.

00:13:39:08 - 00:13:41:21

Hayley Ferguson

And sometimes you have to really work your magic.

00:13:41:21 - 00:14:02:02

Karen Crespo

Yeah, well yeah. Sometimes you might want to try and tell the saying that isn't quite, it's like a bit half baked because like perhaps they didn't get all the cameras shooting it a certain way or you know, you're really trying to tell something happened in a very small moment in time, but you're really trying to suspend it or like you're really trying to make a moment out of it.

00:14:02:02 - 00:14:21:11

Karen Crespo

So, you know, you're really having to use a lot of tricks to you try to to try and work your magic in that sense. But that's the fun of it. I think that is the creative part of editing that I really, really do enjoy. And, and it's always nice to see the results like where it was and what it gets to is, is it's quite, quite a beautiful thing to say.

00:14:21:11 - 00:14:27:05

Karen Crespo

Like it's like an artist looking at the canvas, you know, seeing the process that way. So yeah, I do appreciate that.

00:14:27:15 - 00:14:51:21

Hayley Ferguson

Yeah. And as an editor, I think one of your greatest strengths is, you know, carving out those emotional moments. And I know that, you know, you get given a lot of episode ones or finales or episodes where, you know, we really trying to convey some emotion across. And can you give an example of a time like where you've had to do this and sort of some of the techniques you've used to sort of bring a scene to life?

00:14:51:21 - 00:15:16:23

Karen Crespo

Yeah, well, a classic one I always referred back to. I was doing the finale of A Master Chef series, Series seven, and it had the contestant, Bailey in it. And so it was the finale. It's a big deal. You know, it determines the winner and the final dish that they had to work on. It was a pressure test, and it was made by Heston Blumenthal.

00:15:16:23 - 00:15:39:15

Karen Crespo

And he brought in this weird concoction of a dish, and basically it had this particular element in it. It was like this golden sugar bowl. And you had to really work this sugar substance and blow it like blowing glass to create this sphere of sugar, this golden sugar. It's a very technically challenging thing to do, and it was one of the hardest things we've ever seen on MasterChef at that point.

00:15:39:15 - 00:16:06:10

Karen Crespo

And essentially what we're trying to do is that Billy, you know, she's a few points behind, but she knows if she can nail this element that she'll be able to get those points back and perhaps win. So her mind is set to get to this element and do it right and get it on the plate. So, you know, there's a lot of stakes that is played out through the whole cook to the point where she finally gets to this element and she's doing it.

00:16:06:12 - 00:16:24:21

Karen Crespo

So basically, we kind of wanted to give her a bit of a hero's moment, a hero, when when she started working on this element, she was frantic and she was like huffing and like it was constantly she would blow it and it would pop. She'll blow it and pop and she'll keep thinking that she's got it and then it will pop.

00:16:25:04 - 00:16:45:16

Karen Crespo

And so it was this constant, repetitive, like anguishing kind of job that she was doing. And you can see it was mentally draining her, trying so hard to get this element up. So, you know, I would do a lot with the court in terms of that that frantic, repetitive motion of like, you know, blow pop, side blow pop saw.

00:16:45:18 - 00:17:05:15

Karen Crespo

And it would like kind of frankly get to the point where it almost feels like she's got it. And then that last burst like we use that as a that that that was the point where we literally cut out the sound of any music, anything that was happening in the cut purely in the room. And it was silence.

00:17:05:15 - 00:17:24:22

Karen Crespo

Everyone knew that she looked like she was just going to give up, like she was taking her gloves off. She was like, I can't I can't continue doing this. There's no way I can get this off those. She was literally on a point of giving up. So with the court we kind of wanted to go a bit like you want to zone into her headspace at this point.

00:17:25:02 - 00:17:48:00

Karen Crespo

So, you know, from from this room, silent room sort of time that we've got brought this drone sort of sound, this just one tone drawn that was very, very eerie. And it was as if you're going into headspace. She wasn't saying anything. She was literally just looking like she was going to burst into tears. And then I brought in this particular this piano key track.

00:17:48:00 - 00:18:12:24

Karen Crespo

It was just two notes. It was just going to dun dun dun. But it was kind of like as if I wanted to portray as if she was on this tightrope of giving up. Like she continued, Or should I stop? Continue to stop. So this sort of rhythmic, this, yeah, I don't know, just a zoning, meditative kind of place that she was at with this jury eerie drone underneath.

00:18:13:01 - 00:18:41:24

Karen Crespo

So you're really getting to that sense of her headspace. And, you know, then eventually George CALOMBARIS would come in with his, like, you know, motivational speech. And then we start bringing these drum drum beats like this kind of like call to arms kind of track to which, you know, she's like, okay, yes, I can do this. And then it kind of comes in with these horn tracks and it's like it's literally like as if your back going into battle, all kind of fighter soundtrack of hope, galloping into this field into battle.

00:18:42:02 - 00:18:59:17

Karen Crespo

And so she goes and works a sugar bowl one more time and she's planning it. She is pumping it, and then it finally starts getting into a ball. And then I stripped the music back completely and it was just purely just the drums, a soft drum, which was like a heartbeat. And you're like, you're literally watching her pump this air into it.

00:18:59:17 - 00:19:21:10

Karen Crespo

Everyone's, like, silently watching and then completely cut the track again and it's just the room. And she then manages to take the ball off and places it down in this perfect sphere. And then everything like, erupts, like musically it erupts. People like the cheering in from everyone. And he knew at that point that she had done it and that, you know, she could potentially win.

00:19:21:10 - 00:19:41:13

Karen Crespo

So, you know, it was something that only happened like maybe 5 minutes in the actual rushes. Like it was a very quick look. And then into it kind of thing. But, you know, we knew that that was definitely a moment that we needed to suspend in time to really get a sense of where she was at emotionally and then giving her that arc of like, you know, Oh, I can do this.

00:19:41:13 - 00:19:59:06

Karen Crespo

I can do this to the point where, you know, she's victorious in the end. So, you know, something like that. It requires a bit of time and it's like, you know, you just trying to find where those little gems are. But like, if you're using your tools, right, in terms of what it is you want to try and say and do it like if the world is your oyster in that sense.

00:19:59:14 - 00:20:29:18

Hayley Ferguson

Yeah, no. And I love that. And I think that is like something that's really important. You know, when you're crafting an episode of something and crafting a moment essentially like it's all about the context and the motivation behind that particular moment and what you're trying to communicate to the audience. And I guess, yeah, just the use of pauses or pulling out the sound or, you know, bringing in certain types of music can completely change the way a scene is constructed in.

00:20:29:18 - 00:20:43:13

Hayley Ferguson

It's not, I guess, changing what happened. It's more about like, you know, getting into the mind of what that person's thinking in that moment and then conveying that and making a real moment out of it. So it translates the television.

00:20:43:14 - 00:20:55:24

Karen Crespo

Exactly, exactly. Yeah. You just you're really magnifying what happens. But yeah, you need to find a way to really connect and engage with your audiences. And finding those moments of doing that is yeah, it's pretty crucial.

00:20:56:04 - 00:21:00:24

Hayley Ferguson

From your perspective, what would you say the difference is between a good editor and a great editor?

00:21:01:16 - 00:21:03:10

Karen Crespo

Oh, that's yeah, it's tricky.

00:21:03:10 - 00:21:05:18

Speaker 3

I mean, like a good editor can.

00:21:05:18 - 00:21:38:02

Karen Crespo

Like, know how to tell a story. But, you know, sometimes it can be a bit too smoke and mirrors and people can read through that. You need kind of a bit of empathy and emotion being emotionally connected with your material does actually emphasize a lot more in your cuts audiences these days that can really see a bad cut in in terms of reality TV to like music, again is a very big thing that drives a lot of episodes, a lot of shows, and it's not a matter of slapping down a track and just cross fading in and out.

00:21:38:02 - 00:21:54:08

Karen Crespo

Like, you've really got to be very intentional with what tracks you're using and when you're putting them in and when you're taking them out and everything. So I think having a bit of an appreciation or understanding of some sort of music background kind of helps too. And I found for myself, like I did a lot of dancing as a kid as well.

00:21:54:08 - 00:22:12:08

Karen Crespo

So I had a, had an understanding of rhythm and pacing and visual movement to tell the story. And I found that I used a lot of that with my work. And I find that that's that's kind of helped me take a cut and, and I blow it up a little bit bigger to then what it could potentially be.

00:22:12:08 - 00:22:14:10

Karen Crespo

So yeah, I know that one's a tricky one.

00:22:15:00 - 00:22:41:01

Hayley Ferguson

Yeah. I think, you know, music is a really important skill. Identity track can change everything. And I think from my perspective, I mean, I've only worked on one episode of television with you and that was season six of Australian Survivor Brains versus Brawn. And yeah, doing the finale with you, I just remember one of the first things you cut to me, I'd given you my story cut of the challenge, and you started with this really emotional moment.

00:22:41:01 - 00:23:09:17

Hayley Ferguson

And basically at the end of the challenge, we had one of our contestants who'd been in the, you know, worst possible scenario. She lost her mother while she was out there. And she was going through this incredibly emotional experience while she was competing in the final immunity challenge. And I just remember that was one of the first things I watched of yours, and it was just like I was in tears.

00:23:09:17 - 00:23:17:06

Hayley Ferguson

It was just handled so beautifully. Yeah, I just that was just something a real, like, wow moment in editing.

00:23:17:06 - 00:23:36:09

Karen Crespo

Well, thank you. Yeah. I mean, like you said that like tessanne was, she had a lot that she'd gone through and it really showed in her face and that that particular moment in time where she looked like she was going to draw, you know, you could see the pain, you could feel it in the rushes. Like you probably, definitely felt it there on the day.

00:23:36:09 - 00:23:54:12

Karen Crespo

And I really just wanted to respect what she was going through there. So, you know, I chose to hold a lot of shots is probably not too many cuts in that particular moment. Like I actually chose to hold the shot for probably about 30 seconds, which is a bit unheard of because you can see so much that was happening there.

00:23:54:12 - 00:24:24:17

Karen Crespo

And, you know, I really wanted to respect that that pain she was going through. And so I think that as an editor you like, it's those choices that you're making which are pretty pivotal to to what you're doing. And yeah, again, it's the music score I think really helped. It was a very subtle track. I think it was just like this vocal track, this just this, the single note sort of vocal track that was coming in and out of this journey, sort of eerie sound and something beautiful about that track that really convey the soul, the intimacy of what was going on.

00:24:24:21 - 00:24:40:14

Karen Crespo

And, you know, it was great because she found a second wind in that moment, too. And, you know, you see her then like pulling herself up and really trying to like, hold on, like she was really fighting for her last breath by that point. So you could really see that shift. And yeah, yeah, we definitely tried that.

00:24:41:02 - 00:24:50:00

Hayley Ferguson

I guess on that. I mean, do you feel a lot of responsibility as an editor when you get given something as emotionally raw like that?

00:24:50:01 - 00:25:13:22

Karen Crespo

I think so, because there's something, especially when it is a raw emotion like that, there's something psych intimate that's happened there and this so exposed and I don't know, I do find I want to really take care of that person while they're going through that. You know, this is a real person and they're really going through something. So I find that that emotional respect, I approach that with every every project I do.

00:25:14:01 - 00:25:21:20

Karen Crespo

So I think it is essential for the editors to at least be aware of what it is that you've been given and show it some respect.

00:25:22:22 - 00:25:36:17

Hayley Ferguson

To someone who's worked as an editor for a very long time. You obviously you work very closely with a post producer when you're creating episodes. So what would you say, you know, makes for a good producer editor dynamic?

00:25:36:19 - 00:25:58:15

Karen Crespo

I think like an openness, really. Like, I mean, everyone's going to perceive things differently. Like they can probably see how certain things play out in a different sense. So I think it's good to go on your intuition with things like on following a certain storyline, but I think it's it's pretty crucial then to also have an open mind from someone else's perspective and saying, oh, but you know, what about this?

00:25:58:15 - 00:26:13:02

Karen Crespo

You need to be able to be a bit flexible with finding the best way to tell the story. I think that's a that's a pretty big one. Like it is a bit tricky. Some people can be a bit hard in their ways. It's like, no, I just say it this way and it can only be done like this and then they need to say it like that.

00:26:13:10 - 00:26:35:11

Karen Crespo

So, you know, and it's a bit hard as an editor because like you would be given something that it sounds right. Like it's like a radio call, like it makes sense what's happening in the audio. But when you like you're looking at the rushes and you can actually see something else happening. They're like some other dynamic happening of some other something else shifting in the scene and you kind of want to explore that.

00:26:35:11 - 00:26:50:16

Karen Crespo

I think it's kind of good if the producer is able to let you play and you are asking the producers like, Oh, is there a way that we can open up and see what that person says? Because I feel like this is reacting to them specifically, too. So can we perhaps go into that and see what happens there?

00:26:50:16 - 00:27:08:02

Karen Crespo

And so I think there's a lot of that back and forth collaborate and that that happens in order to really make a good episode like you kind of need to be able to have that chance to kind of go back and forth with your, with your producer, to really fine tune what it is you're trying to do. Yeah, I think that's pretty crucial to to be fairly open.

00:27:08:05 - 00:27:08:13

Karen Crespo

Yeah.

00:27:08:13 - 00:27:26:19

Hayley Ferguson

Yeah. And I think having that mutual trust. Yeah. Is really important. And I think that's one of the things like I obviously, you know, really appreciated working with you because you are obviously a brilliant editor, but you're also a really good collaborator. You're open to ideas as well and you're great to sort of bounce off ideas because you're working towards the same thing.

00:27:26:19 - 00:27:47:07

Hayley Ferguson

You want to make the best episode you can make. Then having a relationship between a producer and a editor where you can bounce off ideas, you can say things you like, Oh, I don't know, this is going to work, but how about we try this? So what do you think of this is, you know, it's so important because, you know, there's nothing worse than feeling like, you know, the roles are completely separate.

00:27:47:07 - 00:27:52:16

Hayley Ferguson

Like I'm going to do my bit and then I'm going to hand it to you and you do your bit. It's like there's nothing worse than that.

00:27:52:17 - 00:28:08:17

Karen Crespo

I know. And sometimes it does fall into the trap of that. Look, I have been in situations where it is like that and then I'm like, Well, what? What am I doing? I'm literally just painting by numbers by that point. And I personally don't like working that way. Like I think as an editor, it's not purely about how pretty it looks.

00:28:08:17 - 00:28:18:13

Karen Crespo

It's it's about really understanding and building your story. And in order to do that, you really need to work with your post producer to, to get it there. So yeah, I think it's definitely essential.

00:28:18:20 - 00:28:24:03

Hayley Ferguson

What's the most annoying thing that a post producer could do? Like what really gets to you?

00:28:24:12 - 00:28:29:06

Speaker 3

Well, I don't want to piss people off a name. Anyone.

00:28:29:18 - 00:28:53:22

Karen Crespo

I won't name anyone. But like in my early days, I had a producer that would sit right next to me whilst I'm cutting, like I'm on the tools. And so the worst thing, and I think a lot of editors that probably experienced this once in that lot where the producer would come in, he's his hand was literally like he had me in my ear and he was like, cut that puppet, like literally clicking right near my eat.

00:28:53:22 - 00:29:12:19

Karen Crespo

And I was like, Oh, it's just that was probably the most very frustrating thing I've ever had experienced in my life. And it's never happened again after that. But yeah, that will then reaching over onto your mouse or your, your tools. Like, I mean, it's just, I don't know, it's, there's this space, you know, you have your space.

00:29:15:06 - 00:29:18:03

Speaker 3

May like that they're.

00:29:18:03 - 00:29:25:13

Karen Crespo

Having star longer guy like I haven't met anyone like that again so and yeah I don't think that person's working in the industry anymore to their free time.

00:29:25:13 - 00:29:26:19

Speaker 3

So I think.

00:29:27:00 - 00:29:29:21

Karen Crespo

That might have been a very old school way of doing things.

00:29:30:06 - 00:29:33:21

Hayley Ferguson

So yeah, it's good. It's good. I'm, I'm just glad I haven't have done that.

00:29:33:21 - 00:29:37:10

Speaker 3

You haven't done one like.

00:29:37:10 - 00:29:40:02

Hayley Ferguson

As an editor, what's your favorite job to work on and why?

00:29:40:11 - 00:29:40:23

Speaker 3

I've got a.

00:29:41:11 - 00:30:01:14

Karen Crespo

Diverse range of things that I like and I think mixing it up is kind of what helps. So I like working on, you know, those factual, very soft, very slow burning, sort of shows like Old People's Home for four year old. You know, it's just little miracles that happen kind of thing and little quiet moments that play out.

00:30:01:19 - 00:30:21:15

Karen Crespo

You know, there's something really nice in the way you cut something like that, but then, you know, complete opposite to that. Like, I love working on shows like Survivor or Haunted where it's just full on energy and a bit of mind games. And, you know, there's a lot that you can play in that way, too. And the school is very different.

00:30:21:15 - 00:30:52:09

Karen Crespo

And I don't know, I think having that contrast. So I do try and make sure that I do switch quite a lot between those types as much as I can. So yeah, I don't know, I can't really pinpoint exactly what, but I feel anything that's just emotionally charged. Like I just find anything that kind of really showing what the human condition is like is like, you know, there's something that's happening in that moment for that person and what is it that we're experiencing and how do I really amplify that?

00:30:52:09 - 00:31:04:24

Karen Crespo

I just thrive off any of those moments and it can be really soft and light or it can be like very high and intense, you know, anything from that spectrum, it's, it's it's all the same in the end. So yeah.

00:31:05:08 - 00:31:20:05

Hayley Ferguson

I guess, you know, working in the world of reality television and observational documentary, like it's very fast paced, the timelines are very tight. You know, you've worked on so many different shows. What's the best thing about working in reality TV?

00:31:20:11 - 00:31:21:03

Speaker 3

Oh, I think the.

00:31:21:03 - 00:31:41:00

Karen Crespo

Best thing is finding those gems and really polishing them like it's usually what I try and find every time I get given an episode. I'm like, Okay, where are the gems? Like where? Where are the moments that I know is going to really pop in this episode? And those are the ones I would really focus on the most because that is what you're getting to.

00:31:41:00 - 00:31:43:02

Karen Crespo

Yeah, that's definitely my favorite thing to do.

00:31:43:14 - 00:31:44:04

Hayley Ferguson

Yeah.

00:31:44:12 - 00:31:45:21

Speaker 3

And I mean, you've.

00:31:46:06 - 00:31:52:02

Hayley Ferguson

Been working in reality TV probably it's like 13, 14 years now.

00:31:52:02 - 00:31:54:03

Karen Crespo

Yeah, probably be about that now. Yeah.

00:31:54:03 - 00:31:59:16

Hayley Ferguson

You won loads of awards. What would you say is your greatest achievement in TV?

00:32:00:08 - 00:32:00:22

Speaker 3

Oh.

00:32:01:11 - 00:32:24:14

Karen Crespo

I think my greatest achievement would have to be putting reality cutting on the map. Like it's interesting when I go to those awards like the the reality TV category in the editing awards is only fairly, fairly new. And I don't know, people always perceive reality as very cheap cutting. You know, it's just a means of just doing tricks to try and like entertain the audience.

00:32:24:14 - 00:32:56:11

Karen Crespo

But I feel like I like to think that at least with the work that I have done, that is, I've tried to elevate creative reality editing a bit more to something that's almost more cinematic or much more artsy, much more thought provoking, much more, yeah, like a lot more relevant to the time. And like, I hope that that is what I'm doing and I feel like is giving respect more to the editors, especially reality editors, that they have the potential to really create something very, very special.

00:32:56:11 - 00:33:12:01

Karen Crespo

And they're not they're not just cutting shit up just for the sake of, you know, cultural. So it's all it's all very well thought out. Yeah. I hope that is, is what I think is the best part of my career is actually really showing the world what we can actually do.

00:33:12:09 - 00:33:36:09

Hayley Ferguson

Yeah, it's incredible. I mean, I know I keep coming back to this, but my experience with you is working on Australian Survivor season six and that segment that you created was just like amazing. The shots from the outback like it was, it was different from the other seasons because previously we'd only been on islands in Fiji and Samoa, and so the outback looked incredible.

00:33:36:09 - 00:33:52:05

Hayley Ferguson

Like the shots you chose, the music and the pitches that you put to the words that I'd laid out. Like I recently watch SG one again just because I was working on the finale or Heroes versus villains and just, you know, watching that back, I'm like, wow, that was it was really good.

00:33:52:23 - 00:34:18:21

Karen Crespo

Well, that one was really fun to cut because, I mean, we we got some amazing footage, like the film got us amazing, amazing footage. And, you know, with the with the dialog, the monologues that you put together, like, you know, the contestants that we had, like, you know, you really cared about those characters. It was just it was just a one of those magical moments where, like, everything was coming together and it just, like, you just really wanted to make sure you're making it sing as well in the cut.

00:34:18:21 - 00:34:23:00

Karen Crespo

So, yeah, that one was really, really fun to cut and score. Yeah, definitely.

00:34:23:01 - 00:34:27:12

Hayley Ferguson

Yeah. I think my, my favorite part about that SG one was the those true.

00:34:27:12 - 00:34:30:08

Speaker 3

Parts there with this.

00:34:30:19 - 00:34:32:03

Hayley Ferguson

There was the moment where.

00:34:32:14 - 00:34:32:23

Speaker 3

I remember.

00:34:32:23 - 00:34:57:06

Hayley Ferguson

What George says in the thought track button. He, he was talking about basically like outplaying everyone and like doing things differently. And it had slick, you know, he's amazingly sporty and just like the perfect, you know, brawn. And she's like leaping over this giant log and then you've got George, like, creeping underneath that. And it was just, like, the perfect metaphor for.

00:34:57:06 - 00:34:57:15

Speaker 3

The.

00:34:58:07 - 00:35:16:02

Karen Crespo

Style of that because like, I think that, again, was just something is his harmonies just everything. It was just connecting because it was just literally something that you found in his interview. I was like, Yes, that's great. And then you just find that vision and you put it on top of each other and you're like, Oh, boom. That's actually that's the moment, the right bit.

00:35:16:02 - 00:35:17:17

Karen Crespo

So that's that's good that you remember that one.

00:35:17:23 - 00:35:37:23

Hayley Ferguson

Yeah. And I also the part that I always get goose bumps is when Hayley, who eventually went on to win that season, when she says I'm the perfect combination of Bryan and Brawn and you have like this like slashing can cut to black quickly and it's like she's just standing on this amazing look out and it's just like.

00:35:38:18 - 00:35:57:04

Karen Crespo

Yeah plotted with like all three of them, which was like one was a brawn, which wasn't slick and then one was the brain, which is George. And then Hayley was sitting in the middle and like, yeah, I do like a flicker effect. Whereas if they kind of like get disappeared and it's just been her on the, on the thing like as if she's being merged into the one pretty much it was both brain bones and yeah.

00:35:57:18 - 00:35:58:20

Speaker 3

Yeah I could.

00:35:58:20 - 00:36:02:03

Karen Crespo

Do that symbolically with the imagery and everything too. So yeah.

00:36:02:10 - 00:36:07:20

Hayley Ferguson

Well, you went on to win an award for editing in reality TV for that episode.

00:36:07:20 - 00:36:09:17

Speaker 3

So it's something, right?

00:36:11:04 - 00:36:22:18

Hayley Ferguson

What's the biggest challenge you've had to problem solving? TV Have you ever been faced with something that's like, you know, mistake that happened to the field or lost rushes or something? No, you've had to like, okay, I need to figure something out.

00:36:22:19 - 00:36:49:14

Karen Crespo

I mean, I can't pinpoint a specific moment because it does happen quite a lot. You are having to sometimes create a jigsaw puzzle with missing pieces. So there's a lot of problem solving having to be done with that and you trying to be creative in terms of how else can I tell that narrative? And I think like that's what's helped with shows like like Survivor and stuff where it's very symbolic with some of the images that are used to help your storytelling along.

00:36:49:14 - 00:37:10:21

Karen Crespo

So if there's something that a particular contestant saying that's very like villainous and like, you know, but they're just they're just we've only just got them just standing there looking out somewhere. But Sarah way that I can try and cut to really emphasize what he's saying and what is it that he's trying to do and, you know, adding like a snake shot in or something like a snake trying to get to a prey.

00:37:10:21 - 00:37:33:06

Karen Crespo

Like you're kind of using those visual cues and symbolism to tell what you're doing in perhaps more of an abstract way. So I think it's about yeah, it's always tricky to try and problem solve stuff, but there are ways to do it and like classy ways you can do it as well. You know, there are times I've probably tried to do something and they're like, I don't understand what the hell's going on here.

00:37:33:06 - 00:37:38:22

Karen Crespo

Like, what are you trying to say? Like, what's with the snake? What's what's the snake telling me? So, you know, sometimes it's a bit hit and miss.

00:37:38:22 - 00:37:48:14

Hayley Ferguson

Yeah. I hate that though. When you're in a screening and you're like, you specifically put something in and you're like, Oh, this is really good subtext. Like, yeah, and I like get across this message because this is going to happen and.

00:37:48:14 - 00:37:49:08

Karen Crespo

This was shadowing.

00:37:49:09 - 00:37:49:19

Speaker 3

This.

00:37:50:03 - 00:37:52:05

Hayley Ferguson

That's like, Oh, let's just lose that. And you're like, Oh.

00:37:52:18 - 00:37:56:18

Karen Crespo

That's the worst. But, and you put so much effort into to do that. Like, Yeah, and.

00:37:56:24 - 00:38:03:12

Hayley Ferguson

You have to explain it. You're like, No, no, no. But then you're like, you need to understand that this is what I have to do. Like, Oh, I didn't get that.

00:38:06:06 - 00:38:22:02

Karen Crespo

Yeah, it's that. Yeah, it's tough. And you do have to take those losses when they come like, but I mean it's important to try like I think it's, it's very, it's very important to to try. You got to you got to do to everything to tell tell the narrative an interesting way of doing it. So or just trying to fix a problem.

00:38:22:09 - 00:38:44:09

Hayley Ferguson

Yeah, I think that's my favorite part when I work post, every time I'm doing an episode, I always try and like obviously follow the formula in terms of how we produce whatever show it is. But like I always like to think of like, oh, that's how we did it last time. Like, what could we do different? How does the rushes that we have now and storyline we have, how does that lend itself to doing something a little bit different?

00:38:44:14 - 00:39:06:15

Karen Crespo

Yeah, no. And I think it's important to keep that freshness happening because I find I think viewers are now more and more intelligent with what they are and how they're getting information in. So I think it's good if you can try and delve into those more complex ways of storytelling, because it does make the viewers quite more engaged in what's happening.

00:39:06:15 - 00:39:13:11

Karen Crespo

You think you don't have to guide them so much anymore? You know, you can really play around a bit more with how you telling a story in a different way.

00:39:13:11 - 00:39:25:20

Hayley Ferguson

Yeah, it's exciting when you get down the road, like you were saying in MasterChef and Survivor, like these these shows that have been going, they've been around for a long time. You can start to, you know, do things a little bit differently.

00:39:25:20 - 00:39:40:14

Karen Crespo

And then do the role. Yeah, definitely. But I feel like you can't, like, jump in and do that either. Like, I feel like you need to kind of respect and understand what that format is in order to do that. And I think maybe being on those shows for so long, I feel like I can easily do that.

00:39:40:23 - 00:39:55:06

Hayley Ferguson

Yeah, you had quite an interesting start to career and you moved up very quickly, which is amazing and a credit to yourself. But I guess, you know, it is an incredibly competitive industry. Yeah. What advice would you give someone starting on at once to become an editor?

00:39:55:09 - 00:40:24:08

Karen Crespo

Well, if you know that production is where you want to be, if editing is where you want to be, obviously there's a lot of avenues with, you know, assembly and assistant editors, and that is perhaps the best spot to start because you're getting a chance to actually really watch through stuff and seeing other people's cuts. And then when you are given the opportunity to put a scene together like go nuts, like the stuff that you're doing, you don't have to show the edit up, but if you've got a chance to actually play with the same, it's really good to do that.

00:40:24:08 - 00:40:46:14

Karen Crespo

And then you can perhaps then watch back what the editor ended up doing with that particular scene and comparing it constantly. Watching, I think is really essential and doing as much as you can. So once you manage to get into that position and someone will see your work and you will eventually, you know, move on up. But I think you just need to put that time and effort in.

00:40:46:16 - 00:40:47:01

Karen Crespo

Yeah.

00:40:47:02 - 00:41:05:22

Hayley Ferguson

Yeah. And I think that's great advice. Yeah. The more that you can get practice in in terms of cutting or just being in the post environment because I think very early on in your career, if you're just starting out like even just getting into post, becoming a transcriber, you know, you're watching interviews, etc., but you're getting those introductions to people in post.

00:41:05:22 - 00:41:22:08

Karen Crespo

Exactly. Yeah. A lot of editors are very helpful too. Like I do like try to make sure that the assistant assemblies are getting some feedback and stuff. Like an assistant approached me a couple of months ago saying, Hey, I did this cut. Do you mind watching it just to say what it was like? It wasn't anything that she was given.

00:41:22:08 - 00:41:38:17

Karen Crespo

She just wanted to see if she can play with a tasting. And, you know, I was happy to look back and give her some advice and stuff. So there's a lot of editors out there that are happy to guide you as much as they can as well. So yeah, there are there are nice people out there. There's no harm in asking.

00:41:38:18 - 00:41:51:21

Karen Crespo

I mean, maybe page pick your moments, pick your time, like maybe not before they have to go get something ready for a screening. But someone like me, I'm all for trying to make sure I'll make the effort to to help in what way I can.

00:41:52:00 - 00:42:06:24

Hayley Ferguson

Amazing. Well, I would like to get to the quickfire question. So first your time starts now. What is your favorite reality TV show to watch The Bachelorette? What was the last TV show you watched?

00:42:06:24 - 00:42:08:08

Karen Crespo

I watched Last of US.

00:42:08:13 - 00:42:12:12

Hayley Ferguson

This might not apply to you. Who is the most famous person you've met through working in TV?

00:42:12:21 - 00:42:20:00

Karen Crespo

Oh, it's hard because as an editor you don't actually get to see anyone. But I did meet Ray Martin.

00:42:20:05 - 00:42:23:22

Hayley Ferguson

What is your dream show to work on that you haven't already worked on?

00:42:24:03 - 00:42:27:24

Karen Crespo

I think one of these like zombie apocalypse drama stories. I think that'll be pretty fun.

00:42:28:05 - 00:42:30:00

Hayley Ferguson

That's location you've been to for work.

00:42:31:05 - 00:42:36:00

Speaker 3

Rosemary. Yeah, yeah. Rosemary is the best office. That's such a.

00:42:36:00 - 00:42:36:21

Hayley Ferguson

Slap in the face.

00:42:37:02 - 00:42:39:01

Speaker 3

Was she bit sad?

00:42:40:01 - 00:42:42:23

Hayley Ferguson

What canceled TV show needs to make a comeback.

00:42:43:06 - 00:42:45:09

Karen Crespo

Oh, so you think he can dance?

00:42:45:16 - 00:42:48:05

Hayley Ferguson

So not the cooking dating show that you did?

00:42:48:05 - 00:42:51:16

Karen Crespo

No, that never saw the light of day after series one. And then.

00:42:53:08 - 00:42:55:00

Hayley Ferguson

Have you ever been on TV?

00:42:55:08 - 00:43:11:18

Karen Crespo

Yes, but that was by like a B roll incident. I was at the grounds with my with my boyfriend and we didn't know our camera had been on us. But a couple of months later, we saw this show about coffee and we saw ourselves on the screen and we're like, what the.

00:43:12:02 - 00:43:14:08

Hayley Ferguson

Oh, someone we'll be in trouble for not getting a release.

00:43:14:08 - 00:43:15:20

Speaker 3

Well, I know it was a very.

00:43:15:20 - 00:43:17:04

Karen Crespo

Like just like it was a very.

00:43:17:04 - 00:43:18:07

Speaker 3

Before we can.

00:43:18:07 - 00:43:20:10

Karen Crespo

Tell who it was. Like, it was definitely if.

00:43:20:10 - 00:43:23:04

Hayley Ferguson

You could be on any reality TV show, what would you be on?

00:43:23:07 - 00:43:26:17

Karen Crespo

I think shows like The Bridge are pretty cool. I would love to do that.

00:43:26:17 - 00:43:30:11

Hayley Ferguson

And if you could have dinner with any celebrity dinner a lot, who would it be?

00:43:31:03 - 00:43:37:14

Karen Crespo

I think like Sam Neill. Oh, I don't know. I love Sam Neill. I think he'd be pretty cool to talk to.

00:43:39:01 - 00:43:44:07

Speaker 3

I don't know. I don't know what that says about me. Well, that's it.

00:43:44:08 - 00:43:46:17

Hayley Ferguson

Thank you so much for chatting to me.

00:43:46:18 - 00:43:48:15

Karen Crespo

Well, thanks for having me. It's been great.

00:43:48:15 - 00:44:01:05

Hayley Ferguson

It's really interesting to talk to you because, I mean, I haven't ever had an editor on the podcast before. So I think it's a really different perspective and one that I think is quite a mystery in reality TV. We don't hear a lot.

00:44:01:05 - 00:44:01:16

Karen Crespo

From.

00:44:01:23 - 00:44:04:11

Hayley Ferguson

People of post. I feel well, the best.

00:44:04:11 - 00:44:20:20

Karen Crespo

It's always said that like the best cutting, it's not knowing the kind of thing. So, you know, we are a mystery people. You don't want to see what we're doing really, because then it means we're not doing our job right. So the best kind of cut is where you can't tell there's a cut back, you know?

00:44:20:22 - 00:44:21:17

Speaker 3

I love that.

00:44:21:24 - 00:44:23:06

Karen Crespo

Thanks. Hey, we take care.

00:44:23:16 - 00:59:19:23

Hayley Ferguson

Bye.

00:59:22:05 - 00:59:59:02

Hayley Ferguson

Hi, I'm Hayley Ferguson. And this is beyond reality. In this episode, I chat with award winning editor Karen Crespo, who has been responsible for crafting some of the most memorable moments on our favorite TV shows, such as MasterChef, Australian Survivor and Old People's Home For Four Year Olds. I find out about Karen's early beginnings in TV and how her creative style and ability to carve out emotional moments became renowned in the industry.

00:59:59:02 - 01:00:28:06

Hayley Ferguson

The podcast that explores the world of television production by chatting to the people behind the TV shows you love. In this episode, I chat with award winning editor Karen Crespo, who has been responsible crafting some of the most memorable moments on our favorite TV shows, such as MasterChef, Australian Survivor and Old People's Home for four year olds. I find out about Karen's early beginnings in TV and how her creative style and ability to carp.

01:00:29:04 - 01:01:07:16

Hayley Ferguson

I find out about Karen's early beginnings in TV and how her creative style and ability to carve out emotional moments became renowned in the industry. I find out about Karen's early beginnings in TV and how her creative style and ability to carve out emotional moments became renowned in the industry.

01:01:13:15 - 01:01:17:04

Hayley Ferguson

Hi, I'm Hayley. Hi. Hi.

01:01:20:21 - 01:01:46:02

Hayley Ferguson

Hi. I'm Hayley Ferguson. And this is Beyond Reality, the podcast that explores the world of television production by chatting to the people behind the TV shows. You love. Hi, I'm Hayley Ferguson. Hi, I'm Hayley Ferguson. And this is Beyond Reality, the podcast that explores the world of television production by chatting to the people behind the TV shows. You love.

01:01:48:02 - 01:01:55:06

Hayley Ferguson

Hi, I'm Hayley Ferguson, and this is Beyond Reality, the podcast that explores the world of television production.

01:01:59:04 - 01:02:24:09

Hayley Ferguson

Hi. Hi. Hi. I'm. Hi. I'm Hayley Ferguson. And this is Beyond Reality, the podcast that explores the world of television production by chatting to the people behind the TV shows. You love. Hi, I'm Hayley Ferguson, and this is Beyond Reality, the podcast that explores the worlds of television production by chatting to the people behind the TV shows. You love.

01:02:26:13 - 01:03:05:06

Hayley Ferguson

Hi, I'm Hayley Ferguson, and this is Beyond Reality, the podcast that explores the world of television production by chatting to the people behind the TV shows you love high. Hi, I'm Hayley Ferguson. And this is Beyond Reality, the podcast that explores the world of television production by chatting to the people behind the TV shows you love. In this episode, I chat with award winning editor Karen Crespo, who has been responsible for crafting some of the most memorable moments on our favorite TV shows, such as MasterChef.

01:03:05:12 - 01:03:52:09

Hayley Ferguson

In this episode, I chat with award winning editor Karen Crespo. She's been responsible for crafting some of the most memorable moments on our favorite TV shows, such as MasterChef, Australian Survivor and Old People's Home For Four Year Olds. I find out about Karen's early beginnings in TV and how her creative style and ability to carve out. I find out about Karen's early beginnings in TV and how her creative style and ability to carve out emotional moments became renowned in the industry.

01:03:53:07 - 01:04:16:08

Hayley Ferguson

I find out about I find out about Karen's early beginnings in TV and how her creative style and ability to carve out emotional moments became renowned in the industry. I find out about.