| Dan Wilken – film and television editor based in Los Angeles – is a creative solution, a rare visual storyteller who has merged his experiences in editorial, production, technical, and contemporary art into compelling narratives that affect audiences.
He hails from Brazil via Texas, following a career in contemporary art where he built dysfunctional robots, mass produced objets d’art, and installed experimental soundscapes and immersive multimedia experiences in the art galleries of Austin, Marfa, San Antonio, and Los Angeles.
His innovative acoustic installations crescendoed into feature films where he cut sound for Adam Sandler and Drew Barrymore’s 50 FIRST DATES, and Ernest Dickerson’s NEVER DIE ALONE.
In 2007, before the digital intermediate became an industry standard – Dan bravely built, beta-tested, and refined the pioneering A to Z digital workflow at Academy Award-nominee Dean Devlin’s Electric Entertainment. This included an in-house lab, offline and online picture editing, color grading, and a mix stage, and produced the first completely tapeless deliveries for television and film.
In TV, Dan has edited 5 seasons and 30 episodes (including 4 finales) for producer Greg Berlanti's THE FLASH, and also CRISIS ON INFINITE EARTHS, the largest crossover event in television history.
He has helped assemble pilots for Ryan Murphy (POSE, 911 and VERSACE), Jon Favreau & Seth MacFarlane (THE ORVILLE), and Seth Rogen (PREACHER).
He has contributed to projects at HBO, Warner Bros Discovery, Apple, and Starz.
His expertise in selling projects has also included editing sizzles and style bibles for BREAKING BAD’s Michelle MacLaren, AMERICAN GODS’ Bryan Fuller and Michael Green, and LEVERAGE’s John Rogers.
Dan has edited MTV Awards-nominated music videos for Coldplay, Rihanna, and Gary Clark Jr, with directors Alan Bibby, Adria Petty, and Gus Black. Additionally, he has edited branded and promotional content for Saatchi & Saatchi, Weber Shandwick, Psyop, Toyota, Mazda, the Academy Awards, and the Golden Globes.
Aware of the dynamic cinematic toolkit available to filmmakers through VFX, Dan prides himself in communicating clearly between clients and vendors, and personally rendering shots appropriate for the message – at times hyper-real, at times grounded, at times spectacular. He strives to find the pixels which most resonate with the audience.
Dan currently lives in Sierra Madre, CA where he’s had more than one edit session interrupted by a bear in his kitchen.
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