The Czech native has been the director's go-to editor over the last 15 years, since the pair were film students at FAMU, the film academy in Prague. Until now he has worked under the shingle of Robota, the Prague-based editing "atelier" he co-founded with Zacharias, but he has also just signed to the Whitehouse for representation in the U.S. and the U.K.
"[The Whitehouse's] John Smith called me, actually," Malasek says. "He's a Chelsea fan and I like him very much. He and David Brixton came to Prague and I realized it would be nice to join them. It's an opportunity to go abroad a little bit." Given that Zacharias only shoots about three spots a year, Malasek might have room in his schedule for other jobs. "I never worked in the U.S. market with a director other than Ivan, maybe one with Noam Murro for the U.K."
No matter who he works with, Malasek says ideally, "I would love to have the director here in the edit for the first meeting and try to do the selection with him. All the time I go through the rushes deeply, and then I work with the selects. The selection for me is the key to starting. But the most exciting process of it is when I do the silent edit, the first cut with no sound, when I'm trying to find music and sound design. That's my hobby, actually, music research and sound. I used to play flute and bass, so I converted from being a musician to being an editor."
As for what it's like working with Zacharias, "We know each other very well, so it's like marriage." The editor's favorite spots from their 15-year union include Honda's "Impossible Dream" and "Everyday,"—the latter is "very rhythmical and technical," he says. "But my favorite may be Stella 'Pilot'—It's a combination between a feature, dialog, acting." Which is an example of the stories he's drawn to most. "I like visual, cool ideas. But I think a nice story, with good acting and a very smart ending is the best. It's also the most successful."