WEBVTT 1 00:00:05.120 --> 00:00:09.720 Oh gee is folks, it's showtime. People say good money 2 00:00:09.759 --> 00:00:10.599 to see this movie. 3 00:00:10.919 --> 00:00:13.080 When they go out to a theater, they are cold 4 00:00:13.160 --> 00:00:17.320 sodas popcorn in No monsters in the Projection. 5 00:00:16.920 --> 00:00:19.199 Booths, everyone pretend podcasting isn't boring. 6 00:00:20.239 --> 00:00:20.879 Got off? 7 00:00:40.039 --> 00:00:42.359 Hey, folks, Welcome to a special episode of The Projection Booth. 8 00:00:42.399 --> 00:00:45.000 I'm your host Mike White. On this episode, I'm talking 9 00:00:45.000 --> 00:00:48.000 with Ryan Kendrick. He is the editor of the new 10 00:00:48.079 --> 00:00:52.399 film from Rachel Lambert called Carousel. Now that has nothing 11 00:00:52.399 --> 00:00:54.159 to do with being sent to your death when you're 12 00:00:54.159 --> 00:00:56.280 thirty years old. It is a new film that stars 13 00:00:56.359 --> 00:01:00.320 Chris Pine, Katie Sigal, and Jenny Slat, recently premiere at 14 00:01:00.359 --> 00:01:03.439 Sundance and should hopefully be coming to a neighborhood near 15 00:01:03.479 --> 00:01:06.640 you pretty soon. Keep an eye out, and in the meantime, 16 00:01:06.719 --> 00:01:10.840 I hope you enjoyed this interview. Before I talk about Carousel, 17 00:01:10.879 --> 00:01:13.159 I'm curious how did you get your start in editing 18 00:01:13.200 --> 00:01:13.959 and filmmaking. 19 00:01:14.920 --> 00:01:18.760 I originally went to school to be an audio engineer, 20 00:01:19.719 --> 00:01:25.439 and in school for audio engineer class, we had a 21 00:01:25.599 --> 00:01:30.640 sound design class and we ripped all the sound out 22 00:01:30.680 --> 00:01:35.280 of a scene from the TV show Alias, and we 23 00:01:35.480 --> 00:01:38.239 built the sound from scratch. It for like five six 24 00:01:38.319 --> 00:01:41.680 minutes of this TV show, And when we were doing that, 25 00:01:41.719 --> 00:01:43.319 I was like, Oh, I want to do this. I 26 00:01:43.359 --> 00:01:46.439 don't want to record bands and stuff anymore. 27 00:01:47.359 --> 00:01:49.200 So then I looked at my school to see what 28 00:01:49.280 --> 00:01:52.000 the video department was, and it was. 29 00:01:51.920 --> 00:01:56.439 In the basement of the dorm and it had a 30 00:01:56.519 --> 00:02:01.239 VHS to VHS console. I had a Media one hundred 31 00:02:01.319 --> 00:02:07.200 computer and Final Cut Pro one on a Mac. So 32 00:02:07.680 --> 00:02:13.199 I got a key from my professor to the lead 33 00:02:13.280 --> 00:02:17.719 department and basically started teaching myself Final Cut on that 34 00:02:18.000 --> 00:02:21.159 computer that was in there. And then when I graduated, 35 00:02:21.199 --> 00:02:24.360 I went to the Edit Center in New York, which 36 00:02:25.719 --> 00:02:27.319 quite a few people have gone to, but it's like 37 00:02:27.319 --> 00:02:31.960 a six week film editing course because I didn't know 38 00:02:32.000 --> 00:02:35.280 how to edit at all, really, and then I've been 39 00:02:35.280 --> 00:02:41.639 doing it ever since, really with many other different things 40 00:02:41.680 --> 00:02:44.000 because I live in Nashville, so I didn't have a 41 00:02:44.039 --> 00:02:45.560 ton to edit, so a lot of stuff I had 42 00:02:45.560 --> 00:02:47.080 to shoot myself for a long time. 43 00:02:47.240 --> 00:02:50.280 But did you end up doing like a lot of 44 00:02:50.400 --> 00:02:52.240 music videos or shorts out there? 45 00:02:52.879 --> 00:02:54.360 Yes, a lot of music videos. 46 00:02:54.400 --> 00:02:58.960 I've done, probably close to one hundred of them, which 47 00:02:59.000 --> 00:03:03.840 is a lot. And then I also was a videographer 48 00:03:03.879 --> 00:03:07.039 for bands on tour and stuff, So some. 49 00:03:07.039 --> 00:03:08.840 Of that stuff I cut and some I didn't. 50 00:03:09.479 --> 00:03:11.360 When I started doing it, it was sort of when 51 00:03:11.400 --> 00:03:14.719 YouTube was just kind of starting, So I was cutting 52 00:03:14.800 --> 00:03:17.439 like little mini docks of like people in the studio 53 00:03:17.560 --> 00:03:19.360 or people on the road and stuff like that. But 54 00:03:20.639 --> 00:03:23.000 you know, the YouTube wasn't very big then, so it'd 55 00:03:23.039 --> 00:03:25.120 be like five hundred people would watch it if they 56 00:03:25.159 --> 00:03:26.759 even knew where to find it. 57 00:03:26.919 --> 00:03:31.400 Basically pretty much documentary work right there. But you know, 58 00:03:31.479 --> 00:03:34.439 the film we're talking about today is a narrative. How 59 00:03:34.520 --> 00:03:36.960 was that transition to go from dock to narrative? 60 00:03:37.919 --> 00:03:42.879 In my Edit Center class, half the course was narrative 61 00:03:43.039 --> 00:03:46.680 and half the course was documentary. I had been trained 62 00:03:46.680 --> 00:03:50.360 in both, but narrative was always hard to get my 63 00:03:50.479 --> 00:03:53.800 hands on. So we would make little short films and 64 00:03:53.800 --> 00:03:57.439 stuff that I would cut together, and we would do 65 00:03:57.520 --> 00:04:00.280 forty eight hour film festival and all those kinds of things. 66 00:04:00.400 --> 00:04:03.639 I really transitioned into doing narrative when we won a 67 00:04:03.680 --> 00:04:07.159 four to eight hour film festival and we turned that 68 00:04:07.439 --> 00:04:11.800 idea into a feature film. That was really the first 69 00:04:11.840 --> 00:04:16.920 time that I ever did anything that long or that extensive, 70 00:04:16.959 --> 00:04:21.040 which was basically shooting on the weekends, cutting the scenes 71 00:04:21.079 --> 00:04:22.759 we had during the week and it took us a 72 00:04:22.839 --> 00:04:25.439 year to make it because we had no money. 73 00:04:25.480 --> 00:04:27.480 I don't remember what the final budget was, but it 74 00:04:27.519 --> 00:04:28.199 was very small. 75 00:04:29.120 --> 00:04:33.040 With the gigs that you've had recently, are you just 76 00:04:33.079 --> 00:04:35.439 kind of now known in the industry and people say, 77 00:04:35.480 --> 00:04:37.600 I want Ryan Kendrick to do this, or do you 78 00:04:37.639 --> 00:04:39.639 still have to like hitch yourself, Like how does that 79 00:04:39.680 --> 00:04:40.800 go to get a gig? 80 00:04:41.560 --> 00:04:47.240 Well, for film stuff, you definitely still have to pitch 81 00:04:47.319 --> 00:04:49.720 yourself a lot and a lot. 82 00:04:49.920 --> 00:04:51.399 It's mostly connections. 83 00:04:52.120 --> 00:04:56.279 This film Carousel with Rachel is like, this is our 84 00:04:56.319 --> 00:05:01.120 fourth film we've done together, and I've done a couple 85 00:05:01.240 --> 00:05:05.279 other ones with people who I've just been like introduced, 86 00:05:05.279 --> 00:05:09.000 who are like through connections and stuff. But again it's 87 00:05:09.079 --> 00:05:13.000 like narrative isn't my main job either, Like I'm a 88 00:05:13.000 --> 00:05:14.879 partner at a post house and we do I mean, 89 00:05:14.920 --> 00:05:15.519 our main. 90 00:05:15.439 --> 00:05:16.560 Work is commercials. 91 00:05:16.639 --> 00:05:18.000 A lot of my connections and a lot of the 92 00:05:18.000 --> 00:05:20.959 stuff that I do has absolutely nothing to do with 93 00:05:21.319 --> 00:05:23.079 the film side of it. The film side of it 94 00:05:23.160 --> 00:05:27.600 is just like the flexing a different sort of muscle. 95 00:05:27.759 --> 00:05:33.160 That is basically it's basically impossible to get the same 96 00:05:33.279 --> 00:05:39.480 sort of like artistic fulfillment from anything else other than 97 00:05:39.560 --> 00:05:40.040 maybe if. 98 00:05:39.959 --> 00:05:41.759 It was like a feature documentary or something. 99 00:05:41.800 --> 00:05:45.160 It's just such a huge amount of work to juggle 100 00:05:45.399 --> 00:05:49.519 and keep in your mind and mold and shape. 101 00:05:49.560 --> 00:05:49.639 You know. 102 00:05:49.720 --> 00:05:53.600 It's just a very big thing. But to go back 103 00:05:53.639 --> 00:05:56.360 to the question you were just saying, or that you 104 00:05:56.480 --> 00:06:01.480 just asked me, a lot of directors have their editor 105 00:06:01.959 --> 00:06:05.399 that they like, or they've met or that has come 106 00:06:05.480 --> 00:06:07.199 up with them through the rank. 107 00:06:07.319 --> 00:06:07.560 So it. 108 00:06:09.040 --> 00:06:13.839 Does become quite hard to sort of find new people 109 00:06:14.000 --> 00:06:17.040 to work with unless you start with people who are 110 00:06:17.079 --> 00:06:17.759 just starting out. 111 00:06:17.800 --> 00:06:19.199 Because it's such a. 112 00:06:20.759 --> 00:06:24.639 Unique relationship and it's very I mean me and Rachel 113 00:06:24.680 --> 00:06:25.759 have been friends now. 114 00:06:25.639 --> 00:06:27.759 For like fourteen years or something. 115 00:06:27.920 --> 00:06:31.879 It's just a very close, close kinship that we share, 116 00:06:31.920 --> 00:06:33.800 and I mean it's hard for me to just come 117 00:06:33.800 --> 00:06:36.560 into with someone else and be like, hey, I can 118 00:06:36.600 --> 00:06:38.040 be this person for you. 119 00:06:38.040 --> 00:06:41.120 You know, So with knowing her for so long and 120 00:06:41.160 --> 00:06:45.079 having worked on these multiple projects together, what kind of 121 00:06:45.120 --> 00:06:47.199 prep do you do when she's like, Hey, I've got 122 00:06:47.199 --> 00:06:49.600 this new thing, harocel I want you to, you know, 123 00:06:49.959 --> 00:06:52.319 come on board of course, and edit this like, do 124 00:06:52.360 --> 00:06:54.319 you guys just speak in shorthand now? As far as 125 00:06:54.360 --> 00:06:56.240 what she needs or what her thoughts are. 126 00:06:56.920 --> 00:06:58.519 I don't know that I would ever use the term 127 00:06:58.639 --> 00:06:59.839 shorthand for Rachel. 128 00:07:00.040 --> 00:07:04.439 But yes, this Carousel came about because our last film 129 00:07:04.519 --> 00:07:07.560 sometimes I think about Dying was at Sundance, but it 130 00:07:07.600 --> 00:07:13.319 took a year after we wrapped it for it to premiere. 131 00:07:14.079 --> 00:07:16.560 So she wrote a whole script in that year, which 132 00:07:16.600 --> 00:07:17.560 was Carousel. 133 00:07:18.079 --> 00:07:19.319 So she gave us. 134 00:07:19.160 --> 00:07:23.040 That script basically when we went to Sundance for the 135 00:07:23.040 --> 00:07:25.959 other film. Generally, what happens is she just kind of 136 00:07:25.959 --> 00:07:30.000 gets our initial reactions and everything. Carousel in particular, since 137 00:07:30.000 --> 00:07:33.079 it was an earlier draft, she had to do revisions 138 00:07:33.120 --> 00:07:36.879 with producers and stuff. She would talk to me about 139 00:07:36.920 --> 00:07:38.839 the revisions that were getting made to the script to 140 00:07:38.839 --> 00:07:42.720 make sure that it would essentially tie in with the edit, 141 00:07:42.839 --> 00:07:44.800 or that we weren't stripping things away that would be 142 00:07:44.839 --> 00:07:46.600 problematic when we got there. 143 00:07:47.879 --> 00:07:50.240 All of that, you're just like, you do like that. 144 00:07:50.839 --> 00:07:53.040 A couple of conversations like that, and then a lot 145 00:07:53.079 --> 00:07:56.240 of it's like you gotta just hear about the production 146 00:07:56.319 --> 00:07:58.120 of all this stuff. But when it actually gets to 147 00:07:58.199 --> 00:08:03.680 like right now, actors are locked in location, everything's this. 148 00:08:04.920 --> 00:08:11.240 Her and the DP. Dustin will usually just will. 149 00:08:10.959 --> 00:08:13.720 Get like a three four hour phone call and I'll 150 00:08:13.759 --> 00:08:20.079 listen to them talk through the entire scripts, what they're thinking, what. 151 00:08:20.040 --> 00:08:22.160 They're doing, blah blah blah. And I'll have like some 152 00:08:22.360 --> 00:08:23.480 notes that I've pre. 153 00:08:23.360 --> 00:08:26.519 Written down, but usually I just sit back and draw 154 00:08:26.759 --> 00:08:28.959 and just listen to them talk to it and sort 155 00:08:29.000 --> 00:08:34.000 of like absorb all of that information, which was something 156 00:08:34.000 --> 00:08:39.000 that we had started doing dying. We did that where 157 00:08:39.039 --> 00:08:40.759 we just went through the whole script and it just 158 00:08:40.799 --> 00:08:43.279 put us all on the same page basically, where when 159 00:08:43.320 --> 00:08:47.240 stuff would come in, we didn't have to have lengthy 160 00:08:47.279 --> 00:08:49.840 conversations at the end of the night. Or because Rachel 161 00:08:49.879 --> 00:08:54.000 doesn't generally watch Daili's she sort of expects me to 162 00:08:54.080 --> 00:08:56.799 watch them and let her know if there's anything wrong 163 00:08:56.879 --> 00:09:00.320 or anything going on. But she's pretty well attuned into 164 00:09:00.440 --> 00:09:06.320 what she's seeing, so there's not a huge reason to 165 00:09:06.360 --> 00:09:08.000 be like, well, let's get on the phone for two 166 00:09:08.000 --> 00:09:10.519 hours and let me explain everything that's happening. We're already 167 00:09:10.600 --> 00:09:12.559 kind of going, so. 168 00:09:12.480 --> 00:09:15.840 You're there throughout this entire process. If not before, which 169 00:09:15.919 --> 00:09:20.000 is wild, and then being able to see those dailies. 170 00:09:20.000 --> 00:09:22.679 Are you already starting to put together scenes as things 171 00:09:22.679 --> 00:09:24.080 are starting to collesce? 172 00:09:24.919 --> 00:09:27.639 Yeah, I mean I had an assembly of the film 173 00:09:27.799 --> 00:09:32.600 done three days after they rapped, so I was cutting 174 00:09:32.600 --> 00:09:36.240 the film the entire time that they were shooting, which 175 00:09:36.279 --> 00:09:38.279 was a bit tricky because they shot on film, so 176 00:09:38.360 --> 00:09:42.960 I was three or four days behind them, which generally 177 00:09:42.960 --> 00:09:45.000 I'm not. Usually you're only like a day behind or 178 00:09:45.000 --> 00:09:47.440 something because they're like uploading proxies and stuff. Which was 179 00:09:47.480 --> 00:09:49.039 another thing that was like she had to kind of 180 00:09:49.080 --> 00:09:50.919 be relying on me because she's like, well, I mean 181 00:09:50.919 --> 00:09:53.919 we're like it's four days later, that location's gone, so 182 00:09:53.919 --> 00:09:55.879 we can't do anything about it really, you know. 183 00:09:57.480 --> 00:09:57.759 Wow. 184 00:09:57.799 --> 00:09:59.919 So by the time you're seeing stuff, if you're like, oh, 185 00:10:00.080 --> 00:10:02.320 you missed a shot or I would like a shot 186 00:10:02.320 --> 00:10:03.799 of this, like you're pretty much done. 187 00:10:04.720 --> 00:10:08.480 Interestingly, on this, we did have one thing that we 188 00:10:08.559 --> 00:10:14.200 went back and reshot because that house they had the 189 00:10:14.279 --> 00:10:17.120 whole shoot, and so when something came in and we 190 00:10:17.120 --> 00:10:19.360 had cut it together, we talked about it and we 191 00:10:19.399 --> 00:10:22.519 went through and then they went back and reshot. When 192 00:10:22.559 --> 00:10:26.240 they had Jenny again, like a week later, but for 193 00:10:26.279 --> 00:10:27.480 the most part that was like. 194 00:10:27.480 --> 00:10:29.919 It was pretty much not possible unless it was like 195 00:10:30.559 --> 00:10:32.120 that specific location. 196 00:10:33.360 --> 00:10:35.960 And how are you keeping crack of everything? Like, oh, 197 00:10:36.000 --> 00:10:38.679 I you know this scene is good or I'm missing 198 00:10:38.679 --> 00:10:40.759 a little slug here and I need to get back 199 00:10:40.799 --> 00:10:43.320 to this, Like how do you keep everything straight? You know, 200 00:10:43.399 --> 00:10:45.039 obviously you can't do it all in your head. 201 00:10:46.000 --> 00:10:50.679 No, I mean having a good assistant helps in terms 202 00:10:50.720 --> 00:10:53.200 of just like the technical tracking of it. I mean 203 00:10:53.279 --> 00:10:56.360 we had a very large spreadsheet that sort of tracked 204 00:10:56.480 --> 00:11:00.320 everything and where it was coming from, well out on 205 00:11:00.320 --> 00:11:04.159 one day, blah blah blah, all that other stuff. In 206 00:11:04.240 --> 00:11:09.600 terms of remembering where stuff is. I do kind of 207 00:11:09.679 --> 00:11:12.039 balance it a lot in my head, which I think 208 00:11:12.120 --> 00:11:14.559 is why I'm very drawn to this job and also 209 00:11:14.679 --> 00:11:18.000 very exhausted by the end of it, because you do 210 00:11:18.320 --> 00:11:23.799 sort of fill your ram with a lot of information constantly. 211 00:11:24.799 --> 00:11:28.600 A lot of it is just really good prep work, 212 00:11:29.399 --> 00:11:33.919 which we've sort of dialed in over the years from 213 00:11:33.960 --> 00:11:36.279 doing so many commercials and so many jobs and so 214 00:11:36.360 --> 00:11:38.200 much stuff coming in that we sort of just have 215 00:11:38.360 --> 00:11:42.759 this process for how we organize the footage and how 216 00:11:42.799 --> 00:11:45.840 we know where everything is and how we're able to communicate. 217 00:11:45.840 --> 00:11:51.159 It's not necessarily that complicated, but it is just a 218 00:11:51.279 --> 00:11:55.039 very good strong base to begin with. 219 00:11:55.519 --> 00:11:59.600 Some of it I cribbed because I did one season 220 00:11:59.759 --> 00:12:03.000 as as an assistant at SNL and the way that 221 00:12:03.000 --> 00:12:07.360 they prep all the shorts is really great because they 222 00:12:07.440 --> 00:12:10.480 just have to be very fast, and so some of 223 00:12:10.519 --> 00:12:14.399 their process I've sort of like interwoven into mind to 224 00:12:14.440 --> 00:12:16.000 be able to just sort of like know. 225 00:12:16.080 --> 00:12:17.440 Where all of this stuff is. 226 00:12:18.480 --> 00:12:18.639 Well. 227 00:12:18.639 --> 00:12:22.039 And obviously you're not still cutting on Final Cut brow 228 00:12:22.600 --> 00:12:23.159 number one. 229 00:12:23.519 --> 00:12:24.000 What have you. 230 00:12:23.960 --> 00:12:26.200 Graduated to these days? Where do you used to cut? 231 00:12:26.679 --> 00:12:26.919 Yeah? 232 00:12:26.919 --> 00:12:29.399 So I was in the Math Exodus from Final Cut 233 00:12:29.480 --> 00:12:32.519 and I went to Premiere and I've been on Premiere 234 00:12:33.159 --> 00:12:33.919 pretty much. 235 00:12:33.840 --> 00:12:36.399 Exclusively since then. 236 00:12:36.480 --> 00:12:38.559 I think I've used Avid maybe a couple of times, 237 00:12:38.600 --> 00:12:42.000 and we use Resolve like in some of our workflow stuff, 238 00:12:42.000 --> 00:12:45.919 but I've never like fully used it. It's been just 239 00:12:46.120 --> 00:12:50.720 Premiere like for years now. It seems like maybe a decade. 240 00:12:50.759 --> 00:12:52.919 I mean, I can't remember when the Mass Exodus was, 241 00:12:52.960 --> 00:12:54.200 but it was quite a while ago. 242 00:12:54.679 --> 00:12:56.840 Do you use that to help kind of figure out 243 00:12:56.840 --> 00:12:59.759 where things are as well? Like the don't they use 244 00:12:59.879 --> 00:13:00.960 like projects for that? 245 00:13:01.879 --> 00:13:07.200 So we use yeah, we use productions, and you know productions. 246 00:13:08.080 --> 00:13:12.279 It's a great organizational tool. I think the thing that 247 00:13:12.440 --> 00:13:18.679 makes it so useful as like collaboration really because of 248 00:13:18.759 --> 00:13:21.720 it's I hate saying this, but it just has a 249 00:13:21.720 --> 00:13:24.559 lot of these similarities to like how aviod is in 250 00:13:24.639 --> 00:13:28.120 terms of like bin usage, and these projects are now 251 00:13:29.399 --> 00:13:34.960 like these bins, and people are locking and unlocking them, 252 00:13:35.000 --> 00:13:36.000 and people you can. 253 00:13:35.879 --> 00:13:37.919 Go in and out of them, you know. 254 00:13:37.960 --> 00:13:42.919 My organizational method basically it went from everything is inside 255 00:13:42.919 --> 00:13:47.320 this one very large project to breaking all of my 256 00:13:47.480 --> 00:13:53.519 folders and substructures into individual projects now that are like inside. 257 00:13:52.799 --> 00:13:54.519 Of the production. 258 00:13:56.000 --> 00:13:58.840 They're out there shooting, You're getting the footage a few 259 00:13:58.919 --> 00:14:01.960 days later. You're always a few days late because of 260 00:14:02.000 --> 00:14:07.639 the transfer. How much after they wrap their filming are 261 00:14:07.639 --> 00:14:09.399 you looking at your first cut. 262 00:14:09.720 --> 00:14:13.480 Like the full film first cut, your first pretty major 263 00:14:13.600 --> 00:14:17.799 rough cut three days after I had an assembly that 264 00:14:17.879 --> 00:14:20.039 I had honed a lot of stuff, and then I 265 00:14:20.080 --> 00:14:22.240 think I was watching my first. 266 00:14:22.000 --> 00:14:23.720 Cut like a week after wrap. 267 00:14:24.600 --> 00:14:28.480 Basically, Yeah, which I honestly didn't have a choice on 268 00:14:28.519 --> 00:14:31.360 this one. It just sort of had to be that 269 00:14:31.399 --> 00:14:34.919 way because of the schedule. Yes, it is incredibly fast. 270 00:14:35.000 --> 00:14:38.960 I will say this. Rachel and Dustin do not shoot 271 00:14:39.559 --> 00:14:47.440 a lot of takes, so that is incredibly helpful. And 272 00:14:48.519 --> 00:14:51.039 it was show on film, so they couldn't just let 273 00:14:51.120 --> 00:14:55.879 the camera run, so that helped. And you know, this 274 00:14:55.919 --> 00:14:59.000 is the first film where I've had an actual assistant 275 00:14:59.039 --> 00:15:00.559 on it, so. 276 00:15:01.600 --> 00:15:03.879 I was afforded the. 277 00:15:04.120 --> 00:15:08.720 Time to essentially sit and watch Daily's like on my sofa, 278 00:15:09.039 --> 00:15:12.159 like on a screen while she was doing a lot 279 00:15:12.200 --> 00:15:16.440 of the prep work. And that did alleviate a lot 280 00:15:16.679 --> 00:15:20.120 of I don't know, I don't like to say why, 281 00:15:20.320 --> 00:15:23.279 Like prepping stuff is like useless time you find so 282 00:15:23.360 --> 00:15:25.879 many cool nuggets when you're like looking for stuff. But 283 00:15:27.279 --> 00:15:30.600 it did give you a good jump start to doing it. 284 00:15:30.759 --> 00:15:33.440 But I think, usually. 285 00:15:34.759 --> 00:15:37.360 What do they say, I probably I think an editor's 286 00:15:37.399 --> 00:15:39.000 cut you usually. 287 00:15:38.600 --> 00:15:43.360 Get eight weeks, maybe at least I think you get 288 00:15:43.360 --> 00:15:44.200 to do eight weeks. 289 00:15:44.240 --> 00:15:46.440 And I think on this, miner's cut was at five, 290 00:15:46.679 --> 00:15:51.080 so it was like three three weeks early. And then 291 00:15:51.159 --> 00:15:54.279 usually the director's cut is at like fourteen or something, 292 00:15:54.320 --> 00:15:57.440 and we were, you know, at god knows eleven or something. 293 00:15:57.440 --> 00:15:59.759 I don't know, it just it just moved at a 294 00:16:00.120 --> 00:16:02.120 rate net speed. 295 00:16:03.159 --> 00:16:05.679 Once you have your first cut. What happens then do 296 00:16:05.679 --> 00:16:08.519 you then show it to the filmmakers or how does 297 00:16:08.559 --> 00:16:08.879 that go? 298 00:16:09.840 --> 00:16:11.919 I have discovered that. 299 00:16:14.200 --> 00:16:18.799 The last two films I've done, they did not watch 300 00:16:18.919 --> 00:16:20.200 the first cut that I did. 301 00:16:21.600 --> 00:16:23.720 I'm trying to remember on this one. 302 00:16:24.679 --> 00:16:29.039 I think we watched about five minutes of it and 303 00:16:29.080 --> 00:16:34.600 then Rachel said stop, and then she just would watch 304 00:16:34.639 --> 00:16:38.360 them as we would go through working and working and 305 00:16:38.399 --> 00:16:42.480 working it, which is pretty similar to how the last 306 00:16:42.480 --> 00:16:46.039 one went to, which was just I find it kind 307 00:16:46.039 --> 00:16:49.159 of curious to not watch it because it sort of 308 00:16:49.240 --> 00:16:51.240 cuts you off at your knees a little bit in 309 00:16:51.320 --> 00:16:55.039 terms of conversation pertaining to things towards the end or 310 00:16:55.080 --> 00:16:58.840 the middle, or things cascading and the reason why decisions 311 00:16:58.879 --> 00:17:01.120 are made. You don't really see scope of it. But 312 00:17:02.440 --> 00:17:06.240 I do think that Rachel probably would have watched it 313 00:17:06.319 --> 00:17:10.400 if we weren't in such an enormous hurry. I mean, 314 00:17:10.440 --> 00:17:14.599 she was very anxious to start talking about stuff and 315 00:17:14.640 --> 00:17:16.079 start working through stuff. 316 00:17:16.319 --> 00:17:18.079 They did the last day of shoot in. 317 00:17:18.160 --> 00:17:21.200 Nashville, So she came in the next day and I 318 00:17:21.200 --> 00:17:24.000 actually told her to leave for a week and come 319 00:17:24.039 --> 00:17:27.799 back because she was saying stuff and asking me questions 320 00:17:27.799 --> 00:17:29.519 and I was like, I'm still like three or four 321 00:17:29.559 --> 00:17:31.440 days behind, and I even't seen everything, so I just 322 00:17:31.519 --> 00:17:34.400 don't have answers to some of your questions, which makes 323 00:17:34.440 --> 00:17:40.200 me useless to you because now you're just dictating stuff. 324 00:17:40.200 --> 00:17:43.480 And she doesn't really want me to just like dictate 325 00:17:43.559 --> 00:17:45.759 and be a button, but she wants me to have opinions. 326 00:17:46.279 --> 00:17:47.920 And I was like, I'm not gonna have opinions about 327 00:17:47.920 --> 00:17:50.680 this stuff, and I may not unless you leave for 328 00:17:50.759 --> 00:17:52.680 like four days and come back. 329 00:17:53.519 --> 00:17:55.680 And she did, and then she came back refreshed. 330 00:17:56.599 --> 00:17:58.359 Why the rush on this one? Did you guys have 331 00:17:58.400 --> 00:18:00.720 a release date in mind or the first we'll cut off? 332 00:18:01.720 --> 00:18:04.160 Yeah, just you know you have to hit it by 333 00:18:04.160 --> 00:18:06.839 a certain time. And then you start back. 334 00:18:07.400 --> 00:18:11.039 You basically just go, well, if we get in, here's 335 00:18:11.119 --> 00:18:12.839 what like, here's the day that you have to turn 336 00:18:12.880 --> 00:18:15.039 it in. Here's how long it takes to mix, here's 337 00:18:15.079 --> 00:18:16.759 how long it takes to color, here's how long it 338 00:18:16.799 --> 00:18:18.400 does this. And then you start looking at the counter, 339 00:18:18.480 --> 00:18:20.240 You're like, oh, well, I guess we just have to 340 00:18:20.240 --> 00:18:20.920 do it on this set. 341 00:18:20.960 --> 00:18:22.519 I guess it has to be done by this day. 342 00:18:23.400 --> 00:18:26.279 How close to what people saw at Sundance is what 343 00:18:26.359 --> 00:18:28.559 you came up with with that first cut. 344 00:18:29.319 --> 00:18:33.559 Oh, I mean, it's like an hour shorter than what. Yeah, 345 00:18:33.640 --> 00:18:35.480 the first cut that. 346 00:18:35.400 --> 00:18:41.079 We sent to producers was two hours long, right at 347 00:18:41.119 --> 00:18:45.200 two hours, and our final Sundance cut is like one 348 00:18:45.519 --> 00:18:51.759 thirty nine I think. So it's changed substantially, which is 349 00:18:51.759 --> 00:18:54.920 funny because the last film was not like that. Some 350 00:18:54.960 --> 00:18:57.640 of it was that the script was much shorter, and 351 00:18:57.720 --> 00:19:01.839 so we were very weary leaving stuff on the cutting 352 00:19:01.920 --> 00:19:02.359 room floor. 353 00:19:02.400 --> 00:19:04.880 But on this one we always knew it was long. 354 00:19:05.119 --> 00:19:07.079 The first trip that Rachel sent me was like one 355 00:19:07.160 --> 00:19:10.640 hundred and thirty five pages or something, and she had 356 00:19:10.960 --> 00:19:17.440 an e weebin page backstory history on all the characters 357 00:19:17.440 --> 00:19:19.480 in the town and everything. So there was a lot 358 00:19:19.519 --> 00:19:22.359 of material that we knew existence that we knew it 359 00:19:22.400 --> 00:19:24.000 was going to have to come down with. The first 360 00:19:24.039 --> 00:19:27.039 thing I did, the assembly I did, was basically. 361 00:19:26.640 --> 00:19:29.880 Like, here's everything, and here's. 362 00:19:29.640 --> 00:19:31.759 A bunch of ideas that may be good or bad, 363 00:19:31.839 --> 00:19:34.880 and you can reject them wholly if you want, or 364 00:19:35.039 --> 00:19:36.799 we can say this one's good. We could go down 365 00:19:36.799 --> 00:19:39.480 this path, but it had to have been two hours 366 00:19:39.480 --> 00:19:40.440 and twenty minutes span. 367 00:19:40.559 --> 00:19:43.000 It was definitely too long. There's no way anyone would 368 00:19:43.000 --> 00:19:43.519 to watch that. 369 00:19:44.279 --> 00:19:47.319 When you were editing, because I remember speaking with Moni Hellman, 370 00:19:47.440 --> 00:19:49.559 and he was an editor before he was a director, 371 00:19:50.039 --> 00:19:53.839 and he would always talk about maintaining the performances, and 372 00:19:53.880 --> 00:19:56.680 he cut around the performances rather than the action. So 373 00:19:56.759 --> 00:19:59.519 these films also had a little different rhythm. I'm curious 374 00:19:59.519 --> 00:20:02.119 as far as, like you know, you're saying, she doesn't 375 00:20:02.119 --> 00:20:05.119 shoot a lot of takes, how are you finding like 376 00:20:05.240 --> 00:20:07.079 this is the best performance, and how are you trying 377 00:20:07.119 --> 00:20:10.119 to maintain those really good performances as we go through this, 378 00:20:10.160 --> 00:20:12.400 because you've got some top match actors in this one. 379 00:20:13.240 --> 00:20:15.759 It's funny you say that because my mantra on this 380 00:20:15.920 --> 00:20:19.359 was like what would Thelma do? Because she just does 381 00:20:19.440 --> 00:20:24.359 not care about continuity at all. I did a lot 382 00:20:24.400 --> 00:20:27.720 of rereadings, like a lot of the older like merch 383 00:20:27.799 --> 00:20:28.799 books and stuff. 384 00:20:29.680 --> 00:20:32.039 I really did exist on the like. 385 00:20:32.720 --> 00:20:37.559 The most important thing is the emotional aspect of it, 386 00:20:38.400 --> 00:20:42.400 and a lot of times you can track back some 387 00:20:42.480 --> 00:20:47.680 of that, like physical space or continuity. If you really 388 00:20:47.720 --> 00:20:49.799 feel like it's taking you out, then it's something you 389 00:20:49.839 --> 00:20:53.359 have to work on. But I think, especially with this film, 390 00:20:53.440 --> 00:20:56.640 there's not a lot of cross shooting either with multiple 391 00:20:56.680 --> 00:20:59.480 people in it, so that helps a lot for you 392 00:20:59.519 --> 00:21:02.240 to be able to to sort of get that emotional type. 393 00:21:02.359 --> 00:21:05.119 The same is true for Daisy on the last film, 394 00:21:05.160 --> 00:21:06.599 as it is for Chris on this one. 395 00:21:07.200 --> 00:21:11.039 When you've done some of these huge tent pole films, 396 00:21:11.640 --> 00:21:12.640 a huge. 397 00:21:12.400 --> 00:21:17.440 Part of your skill in art is the control of 398 00:21:17.480 --> 00:21:20.759 your body and aware of pow. It's always moving in 399 00:21:20.839 --> 00:21:25.119 the repetition of those things. You're just not running into 400 00:21:25.640 --> 00:21:30.279 those problems as much, right, which is just giving you 401 00:21:31.640 --> 00:21:36.000