Liyana Mansor is a UK-based editor whose remarkable talent has been showcased across a variety of high-profile projects.
Her latest venture involved editing two episodes of the highly regarded Paramount+ series, Knuckles. Liyana’s eye for detail and narrative prowess were previously demonstrated in her work on TNT’s The Alienist: The Angel of Darkness, which garnered her nominations for the BFE Breakthrough Editor Award and the CCE Best Editing in TV Drama Award.
With an extensive background in Visual Effects Editorial, Liyana has lent her expertise to critically acclaimed productions such as Charlie Brooker’s Black Mirror, the Emmy-awarded Chernobyl, Ridley Scott’s Alien: Covenant, and the Disney+ Star Wars series, Andor.
In this interview, Liyana delves into her journey, her approach to different genres, and the challenges of supervising final sound, music, and VFX on Knuckles.
Knuckles Series | Official Trailer | Paramount+
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Editor’s note: the following interview is edited for length and clarity.
No Film School: What drew you to the field of editing and how has your academic background in Film, Media, and English Literature, as well as Creative Advertising, influenced your editing style?
Liyana Mansor: I was first introduced to the art of editing during my college years, where we had the opportunity to create our own trailers, music videos, or short films. I quickly discovered that, for me, the greatest gratification came from the editing process. That’s where you bring all the material together and manipulate and craft it into something with intention. I already had a love for film, but this new tool really sparked my interest in visual communication as a means of expression, and I developed a fascination for the power of visual media.
In high school, I also loved breaking down stories, which led me to continue studying English Literature in college. You could say this process helped inform my understanding of character development and thematic coherence. My studies in film and media gave me a foundation in visual grammar and cinematic techniques, making me think about film in a different way. I was no longer just an audience member; I wanted to understand and be part of the magic that happened behind the scenes.
After graduating college, I was especially attracted to high-end commercials and powerful messaging that evoked an emotional response in me. This interest led me to pursue a Bachelor’s Degree in Creative Advertising. The focus of the course was less about producing advertisements and more about honing skills in developing new ideas and becoming a creative problem solver. Creative Advertising taught me the importance of clarity, conciseness, and impact—crucial elements in effective editing.
Overall, I don’t think my academic background has influenced my editing style per se, but it has certainly equipped me with a multifaceted skill set. This influences my approach to editing not just as a technical process, but as a creative endeavor that resonates with the viewer.
NFS: How do you approach working on different genres, and did your previous work as a VFX Editor on shows like Black Mirror and Chernobyl help prepare you for Knuckles?
Mansor: My role as a VFX Editor on shows like Black Mirror and Chernobyl allowed me to work closely with multiple talented editors. I was able to witness the edits progress from initial assembly all the way to the final cuts and assist with any temporary visual effects work to aid the storytelling. Part of my job was to break down the changes between the old cuts and the new cuts. It’s a tedious process with interesting revelations because you’re effectively reverse engineering the notes behind the edit changes and understanding their impact on each moment or sequence overall.
My previous shows span across various genres, from dystopian sci-fi to historical drama, which are relatively dark with themes such as morality, corruption and survival in the face of danger. This is a far cry from the overall tone of Knuckles, but it was surprisingly helpful in episode two, which had similar elements of suspense, action, and heroes overcoming adversity, just with the fun addition of comedy and adventure.
For Knuckles, I approached some of the editing with a keen understanding of the psychological thriller genre, especially in the more dialogue-centric scenes where the bad guys, aka the G.U.N. agents were antagonizing our captured hero, Knuckles. One of my favorite aspects of episode two is the opening wide shots where we follow a mysterious car along a winding road through the mountains. Visually, this was inspired by the opening scene of Kubrick’s The Shining, but Knuckles doesn’t take itself quite so seriously, so it was really fun to exercise a different set of muscles working on a comedy action-adventure. I feel my past projects not only expanded my technical skills, given the demanding visual effects requirements, but also deepened my appreciation for the importance of tone, mood, and pacing in storytelling. Ultimately, I aim to adapt my editing style to suit the specific needs and expectations of each project.
NFS: What is the most challenging aspect of supervising final sound, music, and VFX, and how did you overcome these challenges on Knuckles?
Mansor: Each element—sound, music, and VFX—plays a crucial role in shaping the audience’s experience in both enjoyment and comprehension. It’s important that these elements seamlessly integrate and maintain continuity across all episodes to support the story we’re telling. The aim is to enhance the overall narrative and emotional impact of the show.
We also want to allow each element to shine in its own right. For example, there were places where we loved the beautiful score from our composer Tom Howe, and we felt compelled to let it come to the forefront in the mix. However, we also needed to be mindful of protecting the dialogue at times so as not to lose the story or step on the comedy. We needed to find a balance by carefully choosing the right moments for the music to take center stage. The pinnacle of fight scenes is a great example of this, where we wanted to drive the fun, emotion, and energy of those action sequences by highlighting the score. We would pump up the sound levels to breaking point and then pull it back when necessary. In other moments, when a scene called for it, we would let the dialogue take the stage.
Another typical challenge is maintaining the tone and style of the show. The showrunners were juggling their time between post-production on Knuckles and filming the next Sonic film, so it was important to be able to speak to the creative decisions that they had already made during the edit in order to keep the show on track. When we did have time with the showrunners, we used it to discuss new creative ideas and address a myriad of other important points that required attention. We called these our “bits and bobs meetings.”
Liyana Mansor
NFS: Editing requires a deep understanding of the narrative. How did you approach the story of Knuckles, and what aspects of the story resonated with you the most as an editor?
Mansor: I approached Knuckles with an open mind. While I was familiar with the movies, I recognized that the series offered an opportunity for the creators to explore new, fun ideas while maintaining the core values of the film franchise. I delved into the scripts and worked through the dailies, searching for moments that evoked an emotional response in me, made me laugh, or were unexpected and enjoyable. Unlike most scripted shows I’ve worked on, the main cast in Knuckles were encouraged to experiment beyond the script and given the freedom to improvise on set. This resulted in additional material and ad-libs, creating new avenues and jokes outside the script to explore.
Understanding the showrunner’s vision and the overall intention of Wade and Knuckles’ story was paramount in shaping my editing approach. They had a particular taste and sensibility when it came to the comedy but it was still imperative to deliver those messages of home, friendship, and family while preserving the Easter egg moments that expand on the Sonic Universe mythology for the fans.
In a way, Knuckles is also a love letter to the 90s comedy movie era. There are numerous references and influences throughout the series, and being a fan of those movies myself, I could draw on that knowledge. If an unfamiliar reference came up in the cutting room, I would make it my homework to watch it so I could be on the same page.
One aspect of the story that resonated with me was seeing the world through Knuckles’ point of view. In Sonic 2, he enters as a villain but becomes part of the family by the end. In episode two of the series, we meet the more vulnerable side of Knuckles. On one hand, it’s sad to see him struggling to adjust to life on Earth. On the other hand, there are many funny moments as this serious, red, tribal alien-warrior navigates his new life. Despite his toughness, he can be gullible, tactless, and blunt, which adds great comedic effect. To top it off, his new best friend, Wade Whipple, is a small-town cop who is also a fish out of water. Developing these characters beyond the movies, exploring the emotional depth of their relationships, and growing their friendship through the series’ crazy escapades was really fun and rewarding.
NFS: Each episode can have its own rhythm and pace. Can you discuss the editing choices you made for the two episodes of Knuckles that you edited and what guided those choices?
Mansor: In editing the two episodes of Knuckles, I focused on finding a distinct rhythm and pace that suited the unique tone, narrative, and emotional beats of each episode. In Episode two, Wade faces his first real test as a Warrior, trying to rescue Knuckles from the G.U.N. Agents and ultimately becoming a hero. We begin in a secluded, foreboding place. My initial goal was to establish this isolated environment and reintroduce our protagonists and Wade’s dilemma. Long, dark, mountainous shots and tense music set the stage for Wade’s pursuit as he stalks the agents to the secluded ski resort. A fun dream sequence then plays out in Wade’s mind, imagining the rescue unfolding in a heightened, energetic way, showcasing the Ethan Hunt/Bond-esque character he envisions himself to be.
The rescue unfolds in a chaotic, unique way that only Wade can manage. The momentum and pace build from the fantasy sequence to the grand escape, punctuated by their silhouette gliding across the moon—a homage to Spielberg’s iconic E.T. moment. After escaping, they sit down to eat at the diner, allowing a chance to slow down, catch our breath, and delve into more poignant moments, understanding these characters in greater depth. Here, in episode two, their brotherhood begins to take shape.
By contrast, in Episode five, we begin in a much more optimistic place with Knuckles and Wade, finally arriving together for the National Bowling Tournament in the “mystical” place called Reno, Nevada. We get to see the family dynamic with Wade’s sister and mother, and we’re finally introduced to his estranged father, Pistol Pete. It was important to convey Wade’s anxiety at that moment. Knuckles is coaching Wade through this encounter with Pistol Pete in an homage to Cyrano de Bergerac, which results in intentionally awkward dialogue pacing, reactions, and performance choices. Once Wade overcomes this daunting reunion, it’s crucial to feel his relief and optimism by pivoting from the awkwardness to bringing in light music, warm performances, and laughter to convey that everything is going well.
That is until the G.U.N. Agents reappear, pulling them into the chop shop with “the Buyer” played by Rory McCann, reminding us of the threat they pose to Knuckles. I had a lot of fun with the temp music in this scene because McCann’s imposing bad guy character was so striking, and the bleak environment of the chop shop set was wildly different from the casino. We take a serious turn, leaning into the drama and impending danger. I used temp music that sounded like machinery to give the sense that the workshop was alive and to create a sinister underground atmosphere. Tom Howe did an amazing job of elevating that concept with the score. This sequence was particularly enjoyable to cut because we get to learn more about the characters and their motivations. We then smash cut back to the casino and into the bowling competition, where everyone else is completely unaware of the impending threat. Through a fun bowling montage, we see Wade qualify for the final of the tournament. It’s quick, colorful, and shamelessly 80s.
Soon, we introduce a creeping sense that perhaps things are going too well. Wade and his mother, Wendy, share a heartfelt and sincere moment. It was important to strike the right emotional balance here because Wade desperately wants to believe in his father, and we see his vulnerability through his mother’s eyes. Then, we soon discover what that warning means, and the episode ends on a rather solemn cliffhanger. It’s not a high-energy, exciting, or fun ending. It’s slow and quiet; we need to feel the remorse and dread of what’s to come.
Each episode is quite different, and the editing choices were guided by the script and performances, both where we are in the story and emotionally, to most ideally reflect and complement that journey.
NFS: Reflecting on the completion of Knuckles, what are you most proud of regarding your contributions to the series, and what do you hope audiences will take away from your work?
Mansor: Looking back on the series, it’s been incredibly rewarding to contribute to the larger Sonic universe by offering more depth and understanding to Knuckles, beyond his relationship with Sonic. Achieving this through a fun and adventure-filled series has been a real pleasure.
From subtle character moments to high-stakes action sequences, we’ve truly brought Knuckles into his own, making him more than just an extension of the franchise. Seeing the positive reactions from those who enjoyed the series, whether for the characters, humor, or the Easter eggs fans love hunting for, has been gratifying. My hope is that audiences will be moved by Knuckles’ and Wade’s more vulnerable moments, deepening their connection with these characters they’ve enjoyed in the films. Ultimately, we just want them to have fun, enjoy the ride, and rock out to all the awesome soundtrack choices we made because the series is a rollercoaster of unexpected twists and turns.
Author: Jason Hellerman
This article comes from No Film School and can be read on the original site.
