Editing a character-driven crime series is never just about pacing — it’s about stitching together time, tone, and memory.

This week on Below the Line, Film Editor Matthew Barber joins Skid and co-host Gianni Damaia to talk about Matthew’s work on Long Bright River, the eight-episode adaptation of Liz Moore’s novel. From subtle flashback reveals to emotionally charged cross-cutting, Matthew shares how he and the creative team shaped the series’ visual language — often while discovering it in real time.

We cover:

• How flashbacks replaced the novel’s internal monologue — and became a key storytelling engine


• Balancing mystery, family drama, and editorial tone across episodes


• Structuring the pilot to delay key character reveals — including the true identity of the killer


• The emotional inspiration behind a flashback-within-a-flashback sequence


• Using match cuts, location callbacks, and music cues to layer subtext


• Capturing warmth and humanity inside a show full of loss, addiction, and institutional failure


• Incorporating both classical and contemporary music to define character and mood


• The editorial juggling act of cutting dailies, managing tone, and staying ahead of a tight production schedule

Matthew also shares how his personal life unexpectedly shaped some of the show’s most emotionally resonant moments — and how quiet, human moments often carried the greatest weight.

🎧 Press play and go Below the Line on Long Bright River. For more, visit belowtheline.biz.