Grace Point: Breaking Into Scripted Film Editing After 15 Years in Documentary
Actor/Producer John Owen Lowe in the film Grace Point
For over 15 years, my career has been rooted in documentary editing, where I’ve spent countless hours crafting stories from raw, unscripted moments, shaping narratives in the edit bay, and finding emotional throughlines buried in footage. That experience has been invaluable, and now, it’s led me to my first scripted feature film, Grace Point, directed by Rory Karpf.
Rory and I have collaborated on multiple documentary projects, so when the opportunity came to edit one of his scripted films, it felt like a natural next step. While the fundamentals of film editing remain the same—pacing, emotion, and structure—editing a scripted indie film brought its own unique challenges, especially on a project with a limited budget and tight shooting schedule.
The Realities of Editing an Indie Feature Film
Grace Point is a low-budget indie film shot for around $500,000. Unlike big studio productions, indie films don’t have the luxury of many shooting days or extensive reshoots. That means, as an editor, you’re working with exactly what was captured—nothing more, nothing less. Grace Point was shot in 19 days on location in Laurinburg, NC.
This is where my background in documentary film editing proved to be an asset. In docs, you don’t always have the perfect shot or ideal coverage. You shape the story with what’s available. That same problem-solving mindset applied to editing Grace Point, where I had to make every moment work within the limitations of the footage.
Note from Actor/Producer John Owen Lowe during the rough cut stage
How the Film Evolved in the Edit
From the first editor’s cut to the final version, Grace Point evolved significantly. The biggest shift came in tone and pacing.
Initially, we leaned into more conventional Hollywood thriller tropes, but after screenings with lead actor and producer John Owen Lowe, we realized that approach wasn’t serving the film. Instead of forcing it to fit a mainstream formula, we embraced its indie film DNA. We stripped away anything that felt formulaic and focused on what made the story uniquely compelling. We cut less to let shots and performances linger. We found that taking this approach in the edit really helped the audience feel more tension throughout.
Rob Lowe, and Grace Point actor/producer John Owen Lowe discuss Grace Point with editor Corey Frost and director Rory Karpf
Editing Advice That Changed the Film
One of the most valuable pieces of advice we received came from Rob Lowe, father of John Owen Lowe. He told us:
"I would urge you to make the movie you HAVE and not the movie you think you have, or want, or thought you were going to make."
This hit home. As an editor, it’s easy to get attached to an idea of what the film should be. But storytelling, especially in independent cinema, is about adaptability. Once we embraced what we actually had—instead of what we originally envisioned—the film became stronger and more authentic.
The Differences Between Documentary and Scripted Editing
One of the major differences between editing documentaries and scripted films is the role of performance. In documentaries, you don’t shape performance—you’re working with real people doing real things, and your job as an editor is to present that in a compelling and authentic way. In scripted films, it’s entirely different.
With scripted, you often have multiple takes of a scene or line reading, each varying emotionally. As the editor, it’s your responsibility to use your intuition to select and shape the performance that best serves the story and emotional beats. This process was new to me, and working on Grace Point taught me so much about trusting my gut as an editor. It reinforced how much of editing—whether in scripted or documentary—is about instinct and storytelling.
Breaking the Label: Advice for Moving from Documentary to Scripted
In Hollywood, there’s a tendency to put labels on filmmakers, especially editors. If you’re a documentary editor, people assume you wouldn’t know how to cut scripted. If you’re a drama editor in scripted, they think you can’t cut comedy etc.. These labels can be hard to break, but I’m actively pushing my career to do just that.
I don’t want to be put in a box. My goal is to be a master of my craft, with a variety of filmmaking skills that allow me to tell meaningful stories—whether they’re documentary or narrative.
If you’re looking to make a similar transition, my biggest piece of advice is:
Meet as many filmmakers as possible. Put yourself out there and collaborate.
Make films in the genre you want to be in. If you want to edit scripted, find a way to edit scripted.
Build authentic relationships. Opportunities come from genuine connections.
Be prepared to adapt and learn. Don’t assume that everything you know in documentary editing will directly apply to scripted. They require different muscles, and you have to be willing to evolve. Embrace that. Listen to the advice given and really apply it. Especially from those who’ve been there and done it.
Storytelling is universal, but different formats require different approaches. The best filmmakers are the ones who stay open to learning and pushing their boundaries.
Theatrical & Digital Release
After premiering at the Santa Barbara International Film Festival, Grace Point had a limited theatrical release at The Independent Picture House before moving to digital and VOD.
➡ Watch Grace Point on Amazon: Rent or Purchase Here
Grace Point Credits Editor Corey Frost Santa Barbara Film Festival 2023
What’s Next?
Editing Grace Point reinforced a belief I’ve long held—storytelling is universal, but each medium requires a different approach. In documentary editing, you often act as a producer and writer, constructing the narrative in post-production. In scripted film editing, the story is already on the page, and your job is to shape performances, pacing, and emotional beats.
This project has fueled my passion for narrative filmmaking, and I’m excited to build on it. I’m currently working on:
New Here, a hybrid scripted-documentary feature directed by Sundance Grand Jury Prize winner Dan Sickles and produced by Oscar winner Shane Boris
A scripted short film with former NASCAR driver and current team owner Tommy Joe Martins
My goal is to continue editing scripted features, drawing from my documentary background to craft emotionally rich, engaging stories.
For those interested in independent cinema, film editing, or the transition from documentary to scripted filmmaking, I hope you check out Grace Point. More to come soon.
This was a huge lesson in independent film editing and film editing as a whole—sometimes, the best version of a film isn’t the one you planned to make, but the one that reveals itself in the process.