According to Anderson, he's a collaborator without a specific style, preferring to watch rushes on his own and then talk to the director about his vision for the spot. On the day of this interview, workers came in to rearrange his new edit suite so that he could face clients while working, because he is deaf, and he turns off his hearing aids at the beginning of a project, something he humorously calls "tuning out. I cut mute initially and imagine the sounds in my head, then put the music on at the last minute," Anderson says. Because of hearing aides and lip reading, his deafness is surprisingly incidental to his job. In fact, his hearing aids plug into the Avid and give a perfect mix every time, helping out with sound design (mixing is the only thing that he's unable to do).
When starting to cut, he makes clean and specific edits, adding detail afterward. While his reel contains spots with varied paces, from a speeding Ford Falcon clip set at the racetrack, to a comparatively languid Motorola spot about a painter, they all feel instinctive, highlighting visuals that help the viewer focus much like an authoritative guide. "It's kind of magical and mindless," he says. "I just let things happen. If I think too much, it doesn't work." His first spot in the U.S., AT&T's "& is Good" with Chelsea Pictures' Simon Blake directing, is sprinkled with quick cuts and editorial surprises that enhance the visual effects and titles, slowly bringing them into sharper focus. "In Australia, editors do everything-sound design and sometimes effects," Anderson says. "The U.S. likes to classify." However, he adds, "It's the best job in the world. I don't know how to do anything else."