Emmy-Nominated Editors Shelly Westerman and Payton Koch on ‘Only Murders in the Building’
Posted on: Aug 21, 2024
Photo Credit: Shutterstock // DFreeEmmy-nominated editors from Hulu’s hit show Only Murders in the Building Shelly Westerman, ACE, and Payton Koch sat down for an exclusive interview with Staff Me Up to discuss how they got started, how it feels to be nominated and what advice they’d give to people looking to break into the industry today.
Staff Me Up: How did you both get started in the entertainment industry, specifically with editing?
Shelly Westerman: I had a career at the Federal Reserve Bank in computer operations. I wanted to work in film and I did everything I could to put myself in film festivals, meet the community. I took a leave of absence from the Fed, interned at a post-production house, made my connections, learned some skills. Someone offered me a job as a film assistant editor on Velvet Goldmine. I turned in my corporate office notice and started working in film.
Payton Koch: I’ve wanted to be an editor since I was a kid. I went to Chapman University to study film with an emphasis in editing. After college I got a post-PA gig on American Horror Story. It’s where I met Shelly, which was amazing. I got to learn so much and work my way up. I became an apprentice editor on the next show [I did] and then I eventually became Shelley’s assistant, which led us to Only Murders together for season two.
SMU: Shelley, what’s it like taking Payton with you? Do you feel like you’re a strong duo?
SW: Absolutely. We are such a perfect match together. I saw his talent and his pure heart and joy and positivity. We just clicked, you know, and I trust him. It’s all about trust. Bringing him over to Only Murders, I said, “Look, we’ve been through so many different genres and hour-long programs with Ryan Murphy, very demanding schedule. This is a half-hour comedy, we got this. We’ll do it together. Cut every scene.” I thought we could handle anything that came our way.
And we did. By the end of the season, he was co-editing with me on the finale, and the showrunner just adored him like we all do, and said, “Why don’t you have your own episodes in season three?” So he got to fly and do his own work. It’s beautiful. I think for me, I prefer having a partner. I prefer co-editing, working with someone, exchanging ideas, supporting each other, lifting each other up.
SMU: Peyton, how did that feel to have your first episode for season three?
PK: I still don’t believe what’s happened to my life because it’s so crazy. [I’m] forever grateful to John Hoffman, our producer and showrunner, for giving me this opportunity and seeing what I could bring to the table.
My first episode of season three was the episode where Meryl Streep performed her lullaby song. Getting the script, I was like, “Okay, this is a big one.” It was thrilling to cut these actors and put this episode together. I’ll never forget playing the episode, my first cut to John and he watched it with his husband, Tony, and we’re on the call and they’re sobbing by the end of it. We were all crying. It’s just so beautiful and emotional. I’ll never forget my first solo episode on the show.
It’s been the best experience of my life and career. And now we just finished season four. I’m hoping this relationship with John and Shelley will just continue into the future.
SMU: How does it feel to have the Emmy nomination for this season?
SW: It’s so exciting. I’m still shaking. For the first two seasons of Only Murders, I was remote in Florida taking care of my parents and they were such huge movie and TV fanatics. For them to kind of get a behind-the-scenes glimpse at what I did was truly memorable. They both passed and I came back to LA to finish the season.
It was bittersweet. I know my mom wanted to see this moment, but I know she’s here in spirit. She was such a champion of me and Payton and John and loved everyone. So it’s extra special.
PK: I mean, it’s truly a pinch me moment. I didn’t think that I would be able to say that I’m Emmy-nominated at this point in my career. Again, only having the one show credit. We’ve also been nominated twice for the ACE Eddie Award by our peers. It’s so exciting and it really makes me feel proud of what I’ve been able to accomplish since I started working professionally. I couldn’t be more excited for the month of September and what comes next.
SMU: Is there a particular moment that stood out to either of you from your work on this season?
PK: I remember watching the dailies and just being like, “Selena is doing it.” She was so incredible in the scene telling Steve and Marty their lines when they forgot. She was so dialed and so in it and I’m proud of her.
Putting that scene together, it was so moving. That’s the episode she chose to submit and then she received her Emmy nomination from it. I’m so happy for her and proud of the work that I was able to do in capturing the performances in that scene.
SW: John Hoffman entrusted us because the episode was coming in a little bit longer than it needed to be. We presented our director’s cut to John and our producers, Dan Fogelman and Jess Rosenthal. They were blown away. They were like, “No notes. This is great.”
PK: We have so much fun. To be recognized for this episode and knowing all the hard work that we put into it together and that we get to do this together, like we were doing the solo, it would not be nearly as fun or enjoyable. The fact that it’s this episode, Sitzprobe, is so special.
SMU: What advice would you give to someone looking to break into the industry right now?
SW: I would say, befriend post-production people, editors, directors, you know, anyone in the industry you can. Attend as many events as you can. There’s film festivals. Film Independent is a great resource. ACE does an edit fest. That’s a great way to meet people. It’s really the connections [that help you in this business].
The other thing I would say is that’s not practical [advice] but [advice] that I love telling, because someone told me this once.o be a great editor, read a book, go to the opera, go to dance, go to the theater. Be open and take all of it in, the rhythms and sounds of life. That’ll make you a great editor.
PK: I always love to tell people to just make it known what you want to do. When I was a PA, I went into the editor’s rooms and marched around telling everyone I wanted to be an editor. I’m very passionate about it. People in this industry love passion.
If you make it known that you want this more than anything, more than likely you’re going to get an opportunity. Anytime an opportunity like that comes, you kind of just have to take the reins and go for it.
This interview has been edited and condensed.
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