Tod Modisett (Editor) talks about his CREAMPUFF experience:

I had the benefit of learning how to cut film from two wonderful editors: Edgar Burcksen and Leo Trombetta. They both talked to me, in almost religious terms, about being able to let go of any preconceived notions I might have regarding "editing" so that the footage alone could guide my decision-making. In CREAMPUFF, there was no shortage of footage to choose from. The performances were uniformly superb, the coverage complete. I had liked the script because it was so brutal and mysterious, and yet at the same time so hopeful. But I think I was unprepared emotionally to see it realized on screen. I worried that people wouldn't get it. One day at lunch, Jared said to me, "Well, some people won't get it. That's OK." I instantly relaxed. It was the same thing Edgar and Leo had tried to explain to me. I had to let the story take me where it wanted to go. Once I stopped second-guessing future audiences, the movie really started to take shape. I did things that just felt right to me, cynically convinced that Jared would make me change them later. Surprisingly, those were the exactly the moments he never asked me to change.

Most directors have the frightening ability to find the sequences you're most proud of and then force you to rip them apart. It sometimes reminds me of the Faulkner quote about having to kill off all your babies. If you make the mistake of falling in love with a cut, you can rest assured that's the one cut the director will ask you to change. But Jared didn't do that. His status as writer/director/star, which I initially considered a serious liability, proved to be a blessing. Jared was in touch with the material to such an extent that he could tell, apparently unconsciously, when it had been put together in the best way. When it wasn't, he wouldn't give up until he was satisfied; when it was, he knew enough to leave it alone. For these reasons, CREAMPUFF proved to be one of the best collaborations I've had with a director. Jared's strong vision and his refusal to pander to imagined audience response made the atmosphere in the cutting room exciting. I like to think we captured that excitement in the finished film.