As an editor who works across genres, I mainly focus on drama with a strong affinity for suspense and thriller. Editing for me begins with making a story coherent, but it also turns narrative into experience. I always believe what the audience sees and feels carries more weight than what is stated outright, so I approach editing as a way of guiding attention toward atmosphere, emotion, and psychological movement.
I often consider a scene as something to be carved. I usually begin with structure, then shape the scene through pauses, glances, hesitation, and the slight emotional shifts they contain. These moments matter to me because they not only control beat, but also allow the audience to enter a character's inner world. Through those moments, viewers get the key to their subtext, and understand what they care about. Sound for me is another line in the score of a scene, essential to shaping beat, and also inseparable from the whole process. In this case, I will also do my best to lean into sound design to achieve my goal to create the atmosphere and emotion.
I am always listening for the beat's emotional landing point. I would be especially mindful if a beat is too short, because the audience may lose closeness to the character even if they get the information from the scene. Much of my approach was influenced by Takeshi Kitano's dramas, especially Kikujiro, A Scene at the Sea, and Hana-bi. Their quiet, sustained emotional flow taught me to trust duration more deeply.
I continue to pursue an experience that brings the audience into near-zero distance from a character, so that they do not only understand what is happening, but feel it from within.