DOING DOCUMENTARIES DIFFERENTLY
Sundance Film Festival documentary TheyDream takes a non-traditional approach to the format, making the editing from William David Caballero incredibly important.
At what point in the process did the film truly “find itself” in the edit and how different did it look from the version you imagined on set?
When we started TheyDream, we saw one potential narrative track, which was to make a collaborative film with all of William’s family members, but as typical of most documentaries, life happened – in this case, two loved ones passed away – and we had to adjust our story. After that happened, it became much more focused on themes around grief and loss, and the transformative power of art. However, the film really started to find its final form after the team participated in Catapult’s Rough Cut Retreat in July of 2025. The feedback we got really helped us dig deeper and find the story behind the story.
Was there a specific scene or sequence where the edit became the storytelling engine rather than the script or performances?
A specific scene of the edit that became the story telling engine was when Milly endeavoured to reenact a recently deceased family member, in front of a green screen, which was later utilised as a reference for animations in the film.
How did you manage rhythm and pacing when balancing emotional intimacy with narrative momentum in the edit?
It was difficult at first to navigate the flow between live action and animation. Striking the right balance between setup and payoff was a constant challenge that was only resolved through trial and error.
What role did archival, found, or non-traditional material play in shaping the structure of the film and how did you integrate it into a coherent timeline?
TheyDream is a very non-traditional documentary that plays with many different kinds of footage. It is a digitally handcrafted tapestry of live action, archival footage and 2D and 3D animation. Throughout the production of the film there was a great deal of experimentation as to which type of footage fit each part of the film, often needing revision and reworking, all in the service of the narrative and viewer experience.
Everything from the edit to the sound design, music, and visual effects were considered in tandem with the main visuals of the film
How early were editorial decisions influencing other post-production elements like sound design, music, or visual effects?
Throughout the development of TheyDream, everything from the edit to the sound design, music, and visual effects were considered in tandem with the main visuals of the film.
Did the edit reveal anything unexpected about the characters or themes that wasn’t apparent during production?
Using Adobe Premiere Pro and Productions, the edit was happening throughout production, while filming and animation were still in progress. So yes, the edit would often unexpectedly reveal what was missing from the film. Towards the end, it became increasingly apparent that we needed to dig deeper, for the film to feel fully realised.
How did collaboration between editor and director evolve over the course of post-production, particularly when difficult cuts had to be made?
The editor and director are both the same person: me. However, I sought frequent input from other members of my team, like my producers and co-writers, Brad Jones, Erin Ploss-Campoamor and Elaine Del Valle. They helped me make difficult decisions about what to cut, which often involved killing my darlings, in order to improve the film as a whole.
What were the biggest technical or creative challenges you faced in post and how did your editing tools help you work through them efficiently?
The biggest technical and creative difficulty we faced in post was the team being remote and in different time zones. Developing an efficient workflow with the many various types of media that the team produced was crucial.
One pivotal point in editing was when I realised that I needed to eliminate some of the animations that we had spent so much time, money and energy crafting
For films dealing with memory, trauma, or complex social realities, how did you approach ethical responsibility in the edit?
My primary responsibility while making this film was to tell an authentic story while ensuring that I was respectful of both the living and deceased members of my family depicted in my film.
Looking back, what’s one editorial decision you now see as pivotal to the film’s final emotional impact?
One pivotal point in editing was when I realised that I needed to eliminate some of the animations that we had spent so much time, money and energy crafting. The truth was that some of the most emotional and impactful scenes were live action verité.
