With Reed Morano’s I Think We’re Alone Now in theaters, we’re running this short interview with its editor, Madeleine Gavin, conducted earlier this year before the film’s premiere at the Sundance Film Festival. For more on the film, see Meredith Alloway’s interview with Morano. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that led to your being hired for this job? Gavin: I worked with Reed Morano on her feature directorial debut, Meadowland, and when I Think We’re Alone Now was getting set up, Reed sent me the […]

Tatiana Riegel’s first step toward becoming an Oscar nominated editor happened on the set of The Love Boat. 20th Century Fox Studios was just a short walk from where Riegel grew up in Los Angeles and around the time she turned 12 she began wandering onto the lot. “There wasn’t much security back then,” laughs Riegel. “I would watch shows like The Love Boat and M*A*S*H being shot, and I would go into the commissary and see everybody all dressed up in their costumes. I think people just assumed I was someone’s kid and kind of ignored me.” Her visits were typically […]

One of the breakout hits of this year’s Sundance, purchased by A24 in the festival’s last days, Boots Riley’s ambitious directorial debut Sorry to Bother You takes place in a near-feature uncomfortably close to the present. Telemarketer Cassius (Lakeith Stanfield) makes his way up the corporate ladder when it’s discovered his “white voice” does wonders in selling product. His rise up the corporate ladder, bringing him to the attention of unsound company head Steven Link (Armie Hammer), worries his activist girlfriend Detroit (Tessa Thompson). Editor Terel Gibson told Filmmaker about the challenges of assembling Riley’s satirical first film. Filmmaker: How and why did […]

The title of Amy Adrion’s Half the Picture should be taken semi-literally: if women are half the population but severely underrepresented behind the camera, what’s being lost? Her documentary interviews a number of female directors (including Gina Prince-Blythewood, Catherine Hardwicke and Penelope Spheeris) on their experiences, good and bad, while (not) making movies. Editor Kate Hackett explained her work on the film and why she found it inspiring prior to the film’s premiere. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that led to your being hired for this job? Hackett: I […]

Led by one Rajneesh (also known as Bhogwan), a group of Indian believers arrived in 1981 at Wasco County, Oregon. The tensions between the new arrivals and the locals, leading (among other things) to the largest biochemical poisoning in US history on 1984, are examined and fleshed-out in the six-part Netflix series Wild Wild Country. Editor Neil Meiklejohn discussed his latest collaboration with Chapman and Maclain Way prior to Wild Wild West‘s premiere at Sundance. Filmmaker: How and why did you wind up being the editor of this series? What were the factors and attributes that led to your being hired for this […]

Perhaps best known for her biographical documentaries (including two on Roman Polanski and one on Richard Pryor), Marina Zenovich’s latest film Robin Williams: Come Inside My Mind is an intimate look at the late comic and actor. Set to air later this year on HBO, the film draws upon a vast assembly of archival materials, many previously unknown to the public, to cover Williams’s extensive career. Editors Greg Finton and Poppy Das discuss the challenges of crafting a portrait that focused on the comedy rather than the tragedy of Williams’s life. Filmmaker: How and why did you wind up being the editor […]

Jonas Åkerlund (still possibly best known for his “Smack My Bitch Up” video, whose feature directorial debut was Spun) dives into the pioneering Norwegian black metal scene of the ’80s and ’90s. Anchored by Euronymous (Rory Culkin) and the infamous Varg Vikarnes (Emory Cohen), Åkerlund taps into a scene whose music resonates — even as Vikarnes is now known as a murderer who still produces music from prison. The story was well-told in Audrey Ewell and the late Aaron Aites’ documentary Until the Light Takes Us; here, editor Rikard Strømsodd discusses the challenges of taking on this dramatized version. Filmmaker: How and why did you […]

As Scott Macaulay wrote in our 25 New Faces profile of 306 Hollywood directors Elan and Jonathan Bogarin last year, “In 2001, the pair — who together run the production house El Tigre Productions — began shooting their grandmother, Annette Ontell, in the Hillside, New Jersey house she resided in for 71 years. When she died in 2011, the Bogaríns decided, says Jonathan, ‘to keep the house and transform everything there into a film.’ The result is the beautifully strange 306 Hollywood, ‘a kooky, imaginative film,’ he says, that uses ‘a maximalist language of fiction film, art, dance and myth in […]

Though Jeremiah Zagar has been directing shorts and documentaries since 2004, We The Animals marks his first feature narrative film. Adapted from Justin Torres’s novel, Animals gives a name to the source text’s unnamed narrator: Jonah (Evan Rosado), a young boy growing up in ’80s upstate NYC against the background of his parents’ unstable marriage and growing awareness of his own queerness. Editor Keiko Deguchi spoke to Filmmaker about her work on the film, which split the NEXT Innovator Award (chosen by a single juror, RuPaul) with Jordana Spiro’s Night Comes On. Filmmaker: How and why did you wind up being the editor of your […]

Yannis Chalkiadakis has been an editor of advertisements, shorts and feature films since 1993. His recent credits include Interruption (2015, Venice), A Woman’s Way (2009, Berlin) and L (2012, Sundance). He edited that last film for Babis Makridis, who returned to Sundance this year for his dark comedy Pity. Chalkiadakis speaks with Filmmaker below on the parallels between editing and sculpture, the influence of Hitchcock on his work and why, when it comes to editing, “it’s not the software that counts.” Filmmaker: How and why did you wind up being the editor of your film? What were the factors and […]