What I brought to it: The central editorial challenge was ensemble dynamics, making sure each boy felt like a fully realised, equally loveable character without any single one dominating the frame or the story. That balance lives almost entirely in the edit: in the rhythm of cuts, in how long you stay with someone, in what you let breathe. Alongside that, finding the right score and integrating it into the sound design was critical. The music had to carry the tonal shift between comedy and genuine emotion without forcing it. When it works, the audience doesn't notice any of this. They just feel it.