Angelo Valencia's first three years as an editor have been very good ones. A spot he cut for the San Francisco Jazz Festival won a 2001 Gold Lion at Cannes and more awards that same year at D&AD and AICP. The following year, another Valencia-edited spot for the PGA, titled "Shopping Cart," took home a Bronze Lion. He has worked on spots from some talented directors including Peter Care on Southwest Airlines and Jeffrey Plansker on the U.S Air Force.
Despite a fledgling career, Valencia has worked at a few well-respected shops around the country. He cut his teeth in the tape room at Filmcore/San Francisco and rose to the rank of junior editor. In 2000 he moved to 501 Post in Austin, and nine months later he got a call from The Whitehouse to fill a position in its Chicago office. Having settled in at The Whitehouse, Valencia is also growing comfortable with how he sees the role of a commercials editor. "When I was first getting started, it was hard to let go," he says. "When you work all night and make something you're proud of, you don't want any changes. But what I have come to appreciate is that the clients give you the freedom to run with it the first time, then they come back and work with you. There is something great that comes out of that process. The production teams come from a place where it's hard for them to let go, too. So you work together to see if there's something even better than what you both thought of. As I've gotten more confident with my work, I realize we are all trying to reach the same goal."
Today, Valencia is all about finding the core concept and expressing it through his contribution. He avoids looking at storyboards until after his rough cut. Instead, he likes discussing with others, reading the script, and then making rough cuts until it's time to show it to the creatives. "What better audience can you hope to have than the people who thought of the idea," says Valencia, "and what better to hear from them than, 'Hey, we hadn't thought of that.' "