Josh Ethier Breaks Down The Editing Process for Netflix Thriller ‘Don’t Move’

Don’t Move is the recently released Netflix horror thriller co-directed and created by Brian Netto and Adam Schindler. After topping the charts, we got to chat with Josh Ethier, who worked as an editor on Don’t Move. His experience in the industry spans over 15 years, during which time he edited films such as Orphan: First Kill, Hide and Seek, Gretel & Hansel, Eat Brains Love, Mayhem, Leatherface, and more.

Produced by Sam Raimi, the movie dropped on Netflix globally on October 25th and followed Iris, a woman suffering from grief, who has a chance encounter in the woods that leaves her temporarily paralyzed after being injected with a paralytic agent. As her body begins to shut down nearly all bodily functions, Iris must somehow find a way to run, hide, or fight to survive. 

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Interview with Josh Ethier on the Making of Don’t Move

Note: This interview has been edited for brevity and clarity.

Jacob: How did you first become involved with Don’t Move?

Josh: I was originally sent the script from Raimi Productions to my agency, and I read it. I thought it was a lot of fun and a cool idea. It felt like a 90s thriller, which we don’t see much of anymore—those mid-budget range, contained thrillers. Then, I met with Brian and Adam and immediately loved both of them. They’re fantastic and very much like family now. Once they got the green light and the go-ahead—right around the time of the strikes, but thankfully we got a waiver—I was on board.

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Jacob: What was it like working with Brian and Adam?

Josh: It was fascinating. I wondered what sort of back-and-forth they would have—two directors with two different minds. I was delighted to see they’re completely different people, not a hive mind. They have entirely separate tastes, and it was in that push and pull in the editing room that we found the film.

Brian liked to drill each scene during the day and then distance himself from it. Adam preferred to work quickly but would rewatch it a thousand times at home. Their workflows were different but equally valid. I’ve worked with many directors who do similar things, but it was interesting to see that dynamic in a directing team. It works for them—they’ve been friends for decades and have figured out how to mine the best results from their relationship.

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Jacob: So, it was quite a collaborative effort in editing the film?

Josh: Absolutely. Everyone had a chance to speak up, including me, since I’m opinionated. Often, I’d be a tiebreaker or a strong voice in the discussion. It was very conversation-driven. When we edited fight scenes, we’d get into the details to decide how much information to withhold or reveal. It was a lot of fun, and we were having a blast in the editing room.

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Jacob: Your experience with horror must have been crucial, especially in scenes with Iris and Richard.

Josh: Definitely. It was fun shaping that tension. Initially, Richard was more present at the beginning of the film when she was running away. We scaled that back to make him scarier and to focus on Iris’s perspective. It made Richard more threatening when he appeared later, and it gave us time to really center on her experience.

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Jacob: The film creates a unique sense of claustrophobia, even in the woods. How did you achieve that?

Josh: That credit goes to our DPs, Zach, and the location managers. They chose different sections of the woods—a meadow here, a bridge there, a cliff—so it didn’t feel repetitive. It allowed the audience to feel Iris’s journey, adding to the tension as she slowed down but kept moving.

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Jacob: What was the biggest challenge in editing Don’t Move?

Josh: The challenge was capturing subtle expressions when Iris couldn’t move. We had to rely on her eyes and forehead to convey her thoughts. Kelsey did an amazing job with those micro-expressions, allowing us to build tension even when she was paralyzed. Balancing that with Richard’s escalating mistakes made it engaging.

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Jacob: The scene at Bill’s house was a standout. How did you approach that?

Josh: That was one of my favorite scenes. The shift in perspective to Bill and the tension between him and Richard, with Iris listening under the couch, was so unique. It was challenging to capture Iris’s reactions without movement, focusing on her eyes following the conversation. Once we had the footage, it was a joy to edit.

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Jacob: You clearly have a passion for horror. Is it your favorite genre?

Josh: I love all kinds of films, but horror has a special place in my heart. Genre films—horror, action, sci-fi—are what I grew up loving. But I’d be thrilled to work on a great romantic comedy too. Getting to collaborate with Sam Raimi was a dream come true. I even have an Evil Dead 2 tattoo, but I had to keep it hidden around Sam so it wouldn’t be awkward!

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Jacob: What’s next for you?

Josh: I have a film coming out in January with Warner Brothers called Companion, directed by Drew Hancock. I edited it with Brett Bachman. Beyond that, things have been slow, but I’m excited for an upcoming project in the Orphan franchise. It’s great to have ongoing collaborations with people who trust my work.

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Did you enjoy Don’t Move? Let us know in the comments below!