Editors
Interviews - Editors
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How to Assemble a Rough Cut Two Days After Shooting Wraps: Editor Phillip J. Bartell on Miss You Already
Catherine Hardwicke’s razor-sharp blend of comedy and tragedy, Miss You Already, arrives on Blu-ray, DVD, and a variety of VOD platforms March 1. The story of best friends (played by Drew Barrymore and Toni Collette) struggling to deal with the fact that one of them has terminal cancer, it’s a film that walks a tonal tightrope: silly, devastating, sexy, angering, and bittersweet, the movie’s diverse range of effects is a testament to Hardwicke, her actors, and an ambitious script by Morwenna Banks. Pulling all of the elements together is editor Phillip J. Bartell, whose superb work on 2014’s Dear White […]
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“Looking for False Performance Beats”: Editor Fred Raskin on The Hateful Eight
As the first film to be shot in the Ultra Panavision 70 format since Khartoum in 1966, Quentin Tarantino’s The Hateful Eight has deservedly garnered a lot of attention for its cinematography; shot in an extra-wide aspect ratio on a 65mm negative, it’s undeniably a spectacular showcase for director of photography Robert Richardson’s visual gifts. Subtler, but perhaps even more impressive, is the contribution of editor Fred Raskin, who assembles the 2.76:1 images like a maestro of space, timing, and movement. At over three hours in its Christmas Day “roadshow” edition, The Hateful Eight doesn’t have an extraneous frame – […]
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“As Far as I’m Concerned, We Are Making the Movie Version”: Sam Esmail on Mr. Robot
It remains unclear at what point this century cyberpunk — a science-fiction subgenre that emerged largely from the pens of William Gibson and Philip K. Dick — leapt from the realm of speculative to historical fiction; everywhere one looks, it seems that moment has arrived. Many (if not most) westerners live connected to a cyberpunk meta-narrative of their own making these days. We can all be certain, in the era of Edward Snowden, that our digital lives are being recorded. A dystopian view of computing and information technology’s potential, along with a skeptical eye toward vision of “technological as social progress” that corporate propagandists hurl […]
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“30 Years Ago I’d Put Together a Scene with Scratches and Splices Jumping”: Editor David Rosenbloom on Black Mass
David Rosenbloom calls them “movie moments,” those ephemeral slivers of magic discovered amongst the voluminous footage he sifts through in his role as an editor. They can be as small as a glance or as large as a cackle from Whitey Bulger. The latter can be found in Black Mass, Rosenbloom’s second collaboration with director Scott Cooper following 2013’s Out of the Furnace. The film traces the true story of Irish gangster Bulger’s thirty-year reign in Boston, abetted by his role as an FBI informant. Rosenbloom talked to Filmmaker about his start as an editor, his software of choice for […]
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How To Complete Post-Production Quickly to Meet a Festival Deadline: The Making of Joe Begos’ The Mind’s Eye
In order to make the submission deadline for the Toronto International Film Festival, writer/director Joe Begos and producer/editor Josh Ethier had a locked cut of The Mind’s Eye seven weeks into the editing; the effort paid off as the psychokinetic thriller is getting a World Premiere as part of Midnight Madness programme. The cinematic tale features Zack Connors (Graham Skipper) attempting to use his special abilities to prevent the mysterious Dr. Slovak from descending into a psychic rage. “Joe is a visual director who shoots and operates on his own films,” explains Ethier, who has collaborated with Begos ever since […]
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One Brick at a Time: the Post-Production of A LEGO Brickumentary
A LEGO Brickumentary, a documentary that looks at the culture and appeal of the LEGO building block, opens July 31. Like many historical documentaries, this project involved working with a wide range of archival footage, but it also made use of footage shot with a wide range of modern cameras — in one case, all shooting the same event. Co-producer and post-production supervisor Chad Herschberger of Milkhaus talked to us about the work they did on this documentary and the ins and out of post-production work, including animating faces on LEGO bricks, moving media between Avid Media Composer and DaVinci […]
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Anagram Creators May Abdalla and Amy Rose on Door into the Dark
The best work I saw at this year’s Tribeca Film Festival wasn’t a film at all. It was, instead, a lovely piece of conceptual counterprogramming in Tribeca’s Storyscapes section, Door into the Dark. An immersive theater piece by May Abdalla and Amy Rose of the U.K.-based company Anagram, Door into the Dark wasn’t positioned by curator Ingrid Kopp against the films in the festival. Rather, by including Door into the Dark within a program largely dominated by Oculus Rift VR work, Kopp used Door in the Dark‘s simply generated yet expansive mindscapes as a way of setting a high bar […]
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Dealing with Archival Footage: Making The Prime Ministers
Documentary films often rely extensively on archival film, and dealing with different archive sources and the variety of formats involved can become a significant headache. For The Prime Ministers: Soldiers and Peacemakers, co-producer and editor Nimrod Erez had to deal with hundreds of sources and dozens of video formats. As editor and co-producer, Erez ran the post-production department, overseeing the additional editors brought in to work on the picture and seeing the movie through grading and final picture. The film will be released this year and is the second and final part to follow The Prime Ministers: The Pioneers, which was released in 2013. The […]
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“Finish Your Scene Before You Go to Lunch”: Five Questions for After the Fall Director Saar Klein
First-time director Saar Klein got his start in Hollywood as an editor, where he’s been working with top directors for the past two decades. He has two Academy Award nominations under his belt, for Terrence Malick’s The Thin Red Line and Cameron Crowe’s Almost Famous. His feature debut After the Fall joins the strong lineup of this year’s recession-era dramas. Wes Bentley plays a mediocre insurance appraisal agent who loses his job after being too generous with payouts. He turns to a life of crime in order to make payments on his house and keep his family above water. Becoming a petty […]
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Editing Boyhood: Dealing with Changing Technology
The filming of Boyhood, shot over 12 years, posed some unexpected challenges in post-production. At a recent meeting of the Boston Creative Pro Users Group, First Assistant Editor Mike Saenz explained the difficulties of the editing process, made more complicated by changes in technology that occurred over that 12-year period. Begun as what Saenz called “an indie side project” by director Richard Linklater, Boyhood was originally edited using Final Cut 3, as they couldn’t afford to rent an Avid system for 12 years. A couple of years into the project, they switched to Avid Xpress, a lower-end system from Avid. They […]
