Editing Oscar-nominee “The Substance” with Premiere Pro

Image Source: MUBI.

Since its premiere at the 77th Cannes Film Festival, “The Substance” has captivated audiences with its highly entertaining and satirical perspective, innovative filmmaking and career-defining performance from Demi Moore. Directed, written, produced and edited by Coralie Fargeat, the film follows Elisabeth Sparkle (Moore), a former A-lister past her prime and drawn to the opportunity presented by a mysterious new drug that transforms her — temporarily — into the gorgeous, twenty-something Sue (Margaret Qualley).

This “be-careful-what-you-wish-for” fable for the ages is currently nominated for five Academy Awards, including Best Picture. We sat down with Fargeat’s long-time collaborator and co-editor, Jérôme Eltabet, to get an inside look at the experimental post-production process, learn more about his own creative inspirations and explore how they used Premiere Pro to execute this ambitious project.

Because this film has very little dialogue, Fargeat and Eltabet worked tirelessly through the 300+ hours of footage and 230 sequences to build its dynamic rhythm through sound. “Premiere Pro’s flexibility and powerful features make it ideal for shaping the sound design. It allowed us to create the precise atmosphere we envisioned for each scene,” said Eltabet.

Read on to learn more about the making of “The Substance.”

How and where did you first learn to edit?

I first learned to edit at a post-production company called UMT in Paris. As a technical assistant, I took every opportunity to practice. Whenever an edit room was available, I would go in and teach myself.

How did you get involved with this project?

I have been working with Coralie Fargeat for about twenty years — and this is our second feature film together (our first was Revenge in 2017). We have a unique way of working — it's a four-handed editing process where we share and exchange sequences throughout the process. We have also collaborated on TV and commercial projects.

Image Source: Jérôme Eltabet.

How do you begin a project/set up your workspace?

I keep my approach fairly simple. I like to have each shot of a sequence on the same timeline and drag the circled takes to V2. Then — I go through all the footage, isolate my favorite moments, and add locators to note my initial impressions while reviewing the rushes.

Tell us about a favorite scene or moment from this project and why it stands out to you.

One of my favorite scenes from this project is when Elisabeth is putting on makeup in front of the mirror before going on a date. At first, we needed to feel her joy and excitement, but gradually, it had to become clear that she wouldn’t be able to go — overcome by the realization that she cannot face Sue’s perfect beauty. The rhythm of this sequence had to be absolutely precise, as it serves as the emotional core of the film.

What were some specific post-production challenges you faced that were unique to your project? How did you go about solving them?

The biggest challenge was managing the enormous amount of footage — over 300 hours in total. With around 230 sequences to edit and very little dialogue, the process became quite complex. It wasn’t just about cutting the footage — it was also about creating a dynamic rhythm through sound. Since there was minimal dialogue, it was crucial to design the sound from scratch, building a soundscape that would match the tone of each scene. I also had to find temporary music for every sequence, making sure it captured the right emotion and energy to guide the editing process. This required a lot of trial and error, but it was key to shaping the film’s overall mood and pace.

What Adobe tools did you use on this project and why did you originally choose them?

We primarily used Premiere Pro, which we chose for its intuitive and modern interface. Coralie and I work a lot on sound editing — and Premiere Pro is the perfect tool for this. Its flexibility and powerful features make it ideal for shaping the sound design. It allowed us to create the precise atmosphere we envisioned for each scene.

Image Source: Jérôme Eltabet.

If you could share one tip about Premiere Pro, what would it be?

I use keyboard shortcuts to adjust the audio levels of a clip, either increasing or decreasing the volume, and I also learned how to nest one sequence into another. Very useful!

Who is your creative inspiration and why?

For me, creative inspiration comes from many different sources. In terms of filmmakers, I have always been inspired by the work of directors like Darren Aronofsky or David Fincher for his meticulous attention to detail, and the way he builds tension through both visual and auditory elements (he also liked to work on Premiere Pro). I also admire the editing style of Thelma Schoonmaker, whose work with Martin Scorecese has taught me the importance of rhythm and pacing in storytelling.

What’s the toughest thing you’ve had to face in your career and how did you overcome it? What advice do you have for aspiring filmmakers or content creators?

The most challenging task of my career was editing “The Substance”. It was a long and meticulous process. With Coralie, we worked in a very artisanal and experimental way, with a lot of research to find the film's unique universe. She wanted her film to feel like a sensory and emotional trip. My advice, as Coralie successfully did, is to avoid sanitizing your film and to believe in your project all the way through. Stay true to your vision, no matter the challenges.

What’s your favorite thing about your workspace and why?

Image Source: Jérôme Eltabet.

I love working from home. I’m well-equipped, which allows me to organize my work efficiently. Plus, I can easily take care of any urgent matters for my children if needed, which makes it easier to balance my professional and personal life.