WEBVTT

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Old folks, it's show time.
People pay good money to see this movie.

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When they go out to a theater, they want cold sod. That's

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corner in. No monsters in the
Projection Booth, Everyone for ten podcasting isn't

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boring? Shut it off. Hey, folks, welcome to a special episode

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of The Projection Booth. I'm your
host, Mike White. On this special

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episode, I'm talking with aj Catiline
and Melissa McCoy, the editors of ted

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Lasso, one of my favorite shows
on TV. The Final Show Maybe is

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dropping on May thirty first, twenty
twenty three. Be sure to check out

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that and I hope you enjoyed the
interview. Melissa, you went to Western.

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Are you a Michigan I am yeah. Are you a Michigan Yeah,

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I'm just outside there Detroit right now. Okay, cool. Yeah, I'm

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from Lansing originally, and I went
to Michigan State for a little bit and

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then I was like, I'm want
to do film and Western had a really

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cool program and went there and then
Keymonts, California for grad school. With

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that Chapman, I wanted to focus
on editing. I did an internship with

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the local area commercials for like snowblowers
and things like that, and like in

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another life, that's where I was
going to stay. And then I said,

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no, I think I want to
do something more. I'd love to

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cut a snowblower commercial. It was
a lot of fun. Local area commercials

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are a lot of fun. I
did that for a little while after college

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as well, and get some interesting
clients, that's for sure. There's a

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wealth of s and l s gets
probably in there. AJ, how about

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yourself, how did you get into
editing? I went to NYU and that's

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when I first discovered I'll date myself
tape to tape editing, where you had

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to go find the actual tape and
load it up and shuttle around of her

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cord deck and the play deck.
And I loved it that it was so

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tedious. And then came out to
LA because I had some family and friends

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out here and I wanted to check
out the West coast and the USC had

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a program that I went to for
a couple of years, and there I

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saw the first Avid and one being
a lover of computers and being a computer

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geek and having one of the original
macintoshes. That's what's so cool to be

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working on an Assle TV show.
Now I was so impressed. I like,

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this is amazing. Now, this
takes the annoying part of editing out

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of its fun. I loved writing
and it just felt like writing a picture

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and sound. And I got involved
with a documentary early on needed an editor

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and they didn't have a ton of
money, and I got involved with that,

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and I just met a lot of
mentors at the USC who were getting

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involved in post production and it just
really seemed like an avenue that kind of

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just sucked me in that people saw
that I was eager and met a lot

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of people, and that's the moral
of the story. I was just down

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at USC recently talking to some home
students and I said that to them,

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getting to know people is so important. I necessarily that they're going to give

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you a job just to be in
that community. And then one day when

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you know people ask around about you, the more people that know you will

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work in your favor. And Mel
and I both started in unstricted It in

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reality and we both worked out Flavor
Loved back in the day, a classic

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and then that cool and turns out
Flavor flav that was one of our biggest

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ted lass up fans, and I
remember he was tweeting about the show and

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I tweeted that back to him,
like I used to cut your shuttle flame,

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and he tweeted back, give me
a thumbs up. Oh I didn't

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know that. Yeah, so cool. If memory serves you two have worked

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on almost every single episode of ted
Lasso, the group, just us two

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editors. Yeah, it's been us
the beginning, and there our two assistants

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who bump up and help us every
once in a while, Francesco Castro and

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Alex Salvo all wonderful teammates. And
yep, we have a great crew,

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and we started at the og crew
and we've grown season the season to add

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more, but we've always stayed the
same for four As I like to say,

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how do you approach the work having
you two and then your team's working

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on stuff. Are you saying you
edit this episode, I edit that one,

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or are you both working on one
together? How does that work?

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And season one we actually did work
on one together. In the prior seasons,

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I would do the eavens and Mel
would do the odds. So Mel

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did the pilot, which is very
important to set the tone in the show,

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you know, And I remember Bill
Lawrence came up to me and studying

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what we're doing here at Meldre's.
That's going to be the kind of the

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vibe. And then mel Get's cut
the finale. This year we swapped I

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did the odds and melded to eat
and we break it up and we focus

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on each episode, and then of
course they shoot the episodes out of order,

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so working on episodes three you have
to put it on the shelf and

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they go work an episode seven and
then a scene comes in back on episode

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three, and then all episodes stay
open and we don't finish the until Jason

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comes into the process at the end. It's a lot overcastic collaborating now constantly

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checking on with each other, asking
each other questions and what do you think

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of this? Are you noticing this
enough footage? And checking on with each

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other how we're feeling and picking up
ideas. Are all the shows shot in

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the UK? And then you two
edit in your home base and is your

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home base la for both of you? So I have my up pull watch,

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I have plug for another plugs.
Well, we're just going to drop

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them through this. We are not
take note where's our anyways? But like

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you can put a little widget and
I would put London time so I could

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know is it appropriate to maybe like
where are they on their day? And

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can I ask this question? Or
does they have to wait till the morning

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or that kind of stuff. But
yeah, so that's we try to get

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out to London maybe to get to
set, and it's an all hands on

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deck. Everybody's working around the clock, I think, start shooting and footage

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comes in and yeah it's we block
shoot, so we're never not in a

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down period. Stuff's always coming in. And so, yeah, we were

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in la and they're all in London. But I think because of the success

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of the show were most I've known
a lot of the people on set wildly

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because when they come out for press
or the Emmys, they were coming out.

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So we got to meet a lot
of people and it bonded us,

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which is really lovely, Like production
designer and Paul came out, and hair

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and makeup Nikki came out and they
shot some stuff for the finale here,

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so we got to go. We
actually did get to go to set,

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so that was nice. We went
out there and got to experience. Yeah,

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we had one time run. Yeah, Yeah, I got to experience

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ted lasts a little bit. It's
been interesting, but we make it work.

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That's the beauty of how things run
now. It's like you can be

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anywhere, and I think the pandemic
made us feel that. For sure.

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Are probably shares the sentiment and as
we do being in the office. We

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did all of season two remote because
of the pandem Season one, it just

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had started. We were just finishing
stuff, so we spent most of season

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one at Warner Brothers. Season two
was all remote, and then season three

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it was a hybrid. But once
we really started locking episodes and Jason started

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coming in and we were in every
day, and it's just something about being

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all together in the room and screaming, Like even when it's just me and

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my sister Francesca, like love to
screaming the episode together and get a feel

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in the room together. It just
feels different. So I love the hybrid

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workflow. I'm still reeling a little
bit by what you said, Aj,

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as far as the episodes are shot
out of order and things aren't locked down,

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So is it like they're shooting one
major movie for the entire season rather

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than eight, ten, twelve mini
movies as we go along, it definitely

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twelve mini movies. Each of these
episodes really grew in length, where we

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started as a half hour comedy and
now they're fifty minutes to an hour,

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and that's just because the characters are
so deep and rich that they deserved more

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storylines, and Jason is very generous
to share those storylines. They mostly shoot

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in order. Jason likes to work
narratively, so they do episodes one and

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two and then episodes three and four. But they did shoot I think episode

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seven and episode ten out of order, and that doesn't mean they didn't finish

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it. All. They have to
go back and grab something that they haven't

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had a chance to do. I
think the biggest example of that isn't cutting

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the football games together that is all
shot on different days. First of all,

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we're not never in anywhere near a
stadium, although we do have some

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scenes shot in at the Hot Stadium
where Man City plays, and we went

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to Chelsea as well, but those
are just un in the stands, all

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in one element. The coaches are
acting from the sidelines and shot him at

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different time, and that's the different
element that we Rebecca Higgins ki Lee watching

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from the elder's box is different the
pub is different. So it's about taking

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all these elements that are shot different
days with different vibes, and they're very

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good at keeping it at a float
and we get the feelings all happening in

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the same moment. It's the match
to beta thing you put all the other

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It really is. Wow, it's
really flown. Even thinking about is seeing

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like inside of the locker room.
How many setups are there to capture all

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of this stuff, because it feels
like we are moving all over these rooms,

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but you guys tied together so well
that it does feel like it's just

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happening like that, especially because the
quips go back and forth so quickly.

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Yeah, they'll do a lot of
different setups, but sometimes too, if

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they're really running and gunning, it'll
be a moving camera so they'll pan sometimes.

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I had a few of that the
season two, if it got to

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be a really big locker room scene
with everybody in it, and the moving

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camera would shift and so you really
have to pay attention to the whole Take

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Okay, this is how this line's
happening, and remember which takes for that,

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Because you set up your thumbnails and
you're like, oh, just because

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it starts on this frame doesn't mean
that that's what it is to the whole

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you know take, So it's remembering
where all the bodies lie. But yep,

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they become a little bit of a
puzzle piece. Ted a lot of

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times anchors it so his people looks
over this way. We like to use

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him to throw a look over there, or why we're going where we're going,

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And you know Aj has talked about
this too. Sometimes lines of dialogue

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help us know where to go,
and we want to hit like a specific

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moment that maybe lands on a character
that's going through something, and so that

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helps us maneuver around a scene like
that. And then the jokes, of

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course, so just equipping along is
always getting joke to joke to joke,

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but reactions help us a lot.
It generally starts why they tend to do

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the master shot first, and then
then they'll take a break for lunch,

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come in for a closer shots,
and then Jason is a big believer.

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He wants always be shot last.
That's great because that last take is so

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good because he knows the scene.
But it's also challenging editorially because something that

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they've shot lasted four in the afternoon. They didn't think of when they shot

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the wide shot ten in the morning, So that just becomes the editorial tricks,

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like how we can merge those two
shots together and when to go to

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the close. But you'll find a
lot of gold in the close house.

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But sometimes we play it in the
wide if it works there, because it's

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great to see everybody in the shot. Now, do you do the same

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thing that Melissa does as far as
keeping stuff in your head or do you

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have a different way of notaping things
or keeping track of stuff. We have

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different workflows, but similar we create
a system editors to keep things organized.

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I use a software called it script
Sync, which will light up the script

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so I can see how many times
they did that line and which takes and

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coverage, and then it's just about
go through and we lead notes like I

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really love this performance. I don't
know how they delivered that line. A

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good example is Genie Tark's poop,
a line that kind of was discovered in

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the set, and I use the
one where he first discovered it had the

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best communic energy that was anchored to
that. I knew I have to use

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this in the scene during the in
the sewer reason it's just poop a let

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it flow, and so that when
you find something that you know is a

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nugget, communic goal or dramatic goals
that I want to get there. So

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then it becomes a puzzle like how
can I get there? But reorganizing four

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shots before it and three shots after
it. That's the puzzles every days puzzle

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problem solving Jason's off and asking what
do we have a shot of this?

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We don't have it, and you
get that, so it becomes what tricks

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can we do to merge? You
know, we'll take different piece of the

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line here or a word that they
said over there and will create a line.

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So there are some unscripted techniques that
will find its home inscripted. But

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no, we're great writers who write
these scenes and there's a plan and but

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yeah, yeah, there is a
will comment stealing a shot and there's tons

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of examples of that throughout the season
where the camera just happened to be over

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there and it grabs an amazing reaction
or something and that becomes a really cool

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shot. Thank god they got its
kind of happenstance, but they get rare.

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You always are using whatever tricks you've
learned along the way, because I've

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been lucky enough to work on like
action comedies and action actions. And then

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in a little break, I did
a little kind of documentary that had some

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narrative pieces to it. And but
the most part, I think I'm always

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just what's running through my head in
a scene, whether it's comedy or drama

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or whatever it is, like,
Okay, I'd spend first reread the scene

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in the script before I cut it, and what are the what are the

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things we want to do in this
scene, like whether it's the story we're

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telling or this or that or the
other. And then you look at the

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performances and what makes you laugh and
what you think would be for comedy maybe

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or makes you feel for drama or
what this performance does, and then you

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pull your little the rules sometimes where
sometimes faster is what you want to do

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and not have any breaks. And
then or you're like if you get to

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a place where you're kind of like, what should be my next cut?

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And sometimes you think, okay,
cutting on action because our action in this

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and cut on the action. So
it's like you pull in those little tricks

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to help you maneuver around. But
I think for me, the approach is

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always the same no matter what I'm
cutting is first and foremost as script or

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what you want the scene to do
in the film and what that means sort

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of thing. I know the season
finale is happening on the thirty first of

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May. Is this it for you? Guys? Is this the end of

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ted Lasso? Do you have the
next gig already lined up? A million

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dollar question? Was it over?
I think Jason has spoken to this.

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I think he says that this particular
chapter of ted Lasso is going to complete.

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Could there be a future return to
the story? Talk? Maybe possibly

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that. I don't know any details. Yeah, I think none of us

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know. We're just the same with
everybody whenever any new headline comes up or

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like, oh is that the new
thing? You know what I mean?

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And I think everybody feels that it's
kind of fun in that way. Right.

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If this is what it is,
then I hope we did it,

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and then if they want to do
more. I think AJ and I would

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get the bank, get the band
back together. Yeah, we definitely would.

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So I'm very grateful for the experience
you've had these three seasons. Sure,

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I absolutely love to do it,
but also it's great to have a

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bit of a break. Yeah,
I think AJ and I gave a lot

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this season, so I think we're
both looking forward to a vacation and then

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reevaluating our lives. But I think
we probably speak for you J. It's

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like, I feel so satisfied in
my soul with everything we did, everything

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we got to do, and how
we got to work and who we got

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to work with one another and all
that kind of stuff. So I feel

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very satisfied and creatively personally, so
I hope everybody feels that. Story wise,

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we literally left it all in the
field exactly. I feel like I'm

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ready for Martinia who buy the beach
or whatever, the field or the pitch.

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Yeah, thank you, thank you
so much. I know usually Aja,

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you get that right, left it
all on the pitch. Obviously,

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I haven't seen every episode yet,
but it is one of the best shows,

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hands down. I never thought i'd
be watching a sports show about it's

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so much more than that. And
I didn't check to see who edited this

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one, but the Amsterdam episode,
that's definitely gold. That was a special

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one for me and Francesca, my
co editor on that my amazing teammate editorial.

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She really loved that script. We
both just I was like, Yeah,

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this is the one we're doing together. That one was like a little

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movie. It was a little like
the way Matt Lipsey shot at our producing

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director. He just did some beautiful
camera work in that work. I'm thinking

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one of my favorite shots in the
whole thing where I was like, I

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have to get to this because he
nailed it as a when the Dutchman was

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whistling to Rebecca and she's on the
phone and it rat it's like a close

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on her and it racks into the
distance and he's standing on the houseboat and

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it just gives you geography and every
it does everything, and then when they

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nail it like that on set,
you're just like ah. So anyways,

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he did a lot of beautiful camera
moves like that and in a beautiful city.

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I think just just added got real
lucky with location on that one too,

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because so beautiful. But it's just
beautiful, just beautiful looking the interiors

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on his boat, the goldenness of
that. Everything looked so dreamy. It

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was great for me. I was
really focused on that color. When they

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did the color pass on that,
it was like we looked at what it

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was in dailies because we lived with
the dailies for so long and it just

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felt so rich and candle lighting and
just did a really beautiful job on that.

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So yeah, I was really focused
on getting the color right too.

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We would get color CCMs back and
you know, we would send it to

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the DP and we're going in the
good rich direction really on that for that

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for those scenes. It's a fun
one. Melissa AJ. Thank you so

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much for your time today. This
is such a pleasure talking with you.

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Thank you so much. Yeah.
Sure, the last two episodes there one

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yeah, really, Yeah, I
can't wait. I can't wait. They're

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too also too mini lasts on the
movie. Yeah, eleven is really special,

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like twelve. You know, we'll
get you in the Eleven is an

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Eleven is a special one for me
of one that I didn't get cut where

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I'm like where I was like,
ah, AJ got a good one,

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Oh like a got good today.
I'm I got episode eleven exactly. Yeah,

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and then yeah we saw I think
mouth said this to Meil all the

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time. I still I've watched this
stuff a thousand times. I still get

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the fields. So I'm let's get
a little misty eyed and yeah, that

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still does it. I mean every
episode or every other episode. I'm just

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wiping away a tire at the end. Great job, guys, terrifict me

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so much. Thanks, thank you, thank you, Mike. Take care

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you slow down for a second,
take your time. You know if you're

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as if you remember that mine.
And when everybody's telling me I have no

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time, I come well, but
can knows I no, My hands will

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be tied down. And now I'm
the lathing down. ZI can finally see

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the truth so simple but so clear, accepting the notions that would reach you

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mean you if you come out everything
in you know, I be there in

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the first begin And when everybody telling
us we have enough time a boomer of

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gear, Yeah, he has this
tide where he knows out true it knows

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off to try