How 'Furious' Editor Katie Ennis Cuts Tension, Pacing, and Complex Female Character Trajectories

Episode 106 of Furious was one of my favorites of the season. It had everything: a face-off inside a women’s shelter, a high-stakes elevator ride that functions like an hourglass, and an underlying reservoir of rage.

All this stuff coalesced beautifully to advance the story and get the audience to lean in as shakeups changed the rest of the season.

To get there, they needed an editor who could treat dialogue scenes like high-stakes chess matches and add tension in every beat.

Editor Katie Ennis brought a visceral perspective to the showrunner Liz Merriwether-helmed series, and her work pops off the screen.

We sat down with Ennis to discuss how she relies on her gut reactions to dailies, cuts tension without losing tenderness, and humanizes complex characters in the cutting room.

Let's dive in.

Furious | Official Trailer | Disney+ UKwww.youtube.com

NFS: Hi Katie! Could you tell us how you first got involved with Furious, and what drew you to the project?

Katie Ennis: I first heard about the project from an email list my agent sent about upcoming shows looking for editors. When I saw the showrunner was Liz Merriwether, I got very excited because I had always been interested in working with her. New Girl is one of my all-time favorites; the comedy was so quirky and had such a unique voice. Then The Dropout and Dying for Sex were also such well-written, compelling shows. Liz really has a knack for writing complex, odd characters, in whatever genre, and I was thrilled to have the opportunity to put myself forward for Furious.

NFS: Your work on episode 1.06 "They Make a Noise Like Feathers" brings the show's cat-and-mouse framework to a head. Are there any other films or TV shows that served as a reference point for this episode?

…