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<v Speaker 1>Oh jee is bolt it show die? People say good

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<v Speaker 1>money to see this movie.

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<v Speaker 2>When they go out to a theater.

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<v Speaker 1>They want clod sodas, pop popcorn, and no monsters.

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<v Speaker 2>In the projection booth. Everyone pretend podcasting isn't boring.

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<v Speaker 1>Cut it off, Hey, folks, Welcome to the projection Booth.

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<v Speaker 3>I'm your host, Mike White. On this episode, I am

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<v Speaker 3>talking with editor Derek Boonstra all about the new documentary Seized.

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<v Speaker 3>It's a story that happened a few years ago but

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<v Speaker 3>still continues to resonate today, all about the seizing of

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<v Speaker 3>records in Marion, Kansas. Film premiered at Sundance twenty twenty six.

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<v Speaker 3>Highly recommend that you check this out. Hope you enjoyed

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<v Speaker 3>the movie when you see it, and I hope you

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<v Speaker 3>enjoyed this interview. Before we start talking about Ceased, I

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<v Speaker 3>really want to know a little bit more of your

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<v Speaker 3>journey and how you got involved in filmmaking.

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<v Speaker 2>It's kind of what I've always wanted to do from

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<v Speaker 2>teenage years. So took a pretty straight trajectory. I was

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<v Speaker 2>just a skateboard kid, made skateboard videos with my friends

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<v Speaker 2>growing up in high school in Colorado, and used the

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<v Speaker 2>very first version of Premiere before they slept pro on

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<v Speaker 2>it back in the nineties. Dating myself. But you know,

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<v Speaker 2>so I've been I came out to eventually. I went

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<v Speaker 2>to undergrad in Arizona and then did grad school at

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<v Speaker 2>USC and it was kind of one of the weirdos

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<v Speaker 2>who wanted to do documentary there and wasn't necessarily going

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<v Speaker 2>to do scripted content, and I just stuck with it.

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<v Speaker 2>And it's been a long time now.

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<v Speaker 3>You've done a lot of stuff over the years. I mean,

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<v Speaker 3>looking at your IMDb, it's like camera and an electrical department,

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<v Speaker 3>additional crew, sound department, producer, But the most of your

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<v Speaker 3>credits are under editing, and I'm curious I gravitated towards that.

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<v Speaker 2>Editing has really been my bread and butter. A lot

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<v Speaker 2>of those credits are from like early just out of

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<v Speaker 2>school things where I was just trying to figure out

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<v Speaker 2>how to survive out here. But editing. I knew I

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<v Speaker 2>wanted to do documentary, and I took the sound curriculum

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<v Speaker 2>at USC all the way through. I never took an

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<v Speaker 2>editing course my entire time there. We had to do

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<v Speaker 2>editing as part of other classes. But when I got

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<v Speaker 2>out of school. I realized in the documentary world that

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<v Speaker 2>editing is one of the things that you can kind

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<v Speaker 2>of sustain yourself with. Is the role that it's somebody

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<v Speaker 2>has to sit in the chair and push the button

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<v Speaker 2>and make the movie come to life, and a lot

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<v Speaker 2>of people find it tedious. It's a thing that I

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<v Speaker 2>enjoy doing and realized I could do it and sustained

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<v Speaker 2>myself that way. So I just sort of fell into

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<v Speaker 2>it and fell in love with the process. That was

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<v Speaker 2>sixteen years ago now that I just started doing that.

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<v Speaker 3>One of your earliest credits as an editor is square Roots,

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<v Speaker 3>the story of SpongeBob SquarePants. Can you tell me a

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<v Speaker 3>little bit about that.

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<v Speaker 2>Yeah, that's a shout out to Pat Creeden and Christino O'Malley,

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<v Speaker 2>who were the husband and wife director and producer team

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<v Speaker 2>that are still among my favorite people in this industry.

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<v Speaker 2>I saw them at Sundance this past time, and they're

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<v Speaker 2>just great people, and they brought me on as an

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<v Speaker 2>assist editor. I graduated into the two thousand and eight

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<v Speaker 2>financial crisis, and so it had echoes of this era,

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<v Speaker 2>you know, where things were contracting and there were strikes

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<v Speaker 2>going on, and I ended up working for the first

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<v Speaker 2>few months out of film school, for a good period

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<v Speaker 2>of time doing my main paid job was working for

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<v Speaker 2>a billionaire shooting his private Christian high school sons football

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<v Speaker 2>games and editing them to Jock Jams music. I'm burning

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<v Speaker 2>that to a DVD for their school. So it was

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<v Speaker 2>not exactly what I wanted to be doing, but it

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<v Speaker 2>was building my chops in terms of rhythm and pacing

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<v Speaker 2>in a sort of crude way. But then when Pat

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<v Speaker 2>and Chris found this editing position that was actually documentary world,

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<v Speaker 2>which is where I wanted to be, I applied and

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<v Speaker 2>Pat had me edit as a test gave me some

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<v Speaker 2>footage from his children's daycare for a fundraiser that they

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<v Speaker 2>were doing. I edited that together and he liked it

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<v Speaker 2>so much that he just let me start editing on

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<v Speaker 2>the SpongeBob documentary. So it was very fortunate in that

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<v Speaker 2>I was able to go from didn't have to AE

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<v Speaker 2>for very long before I started editing the things.

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<v Speaker 3>How many projects are you working on at the same time?

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<v Speaker 3>Where do you just go project project?

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<v Speaker 2>These days it's mostly project project seized was entirely that

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<v Speaker 2>was all I was doing for most of last year.

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<v Speaker 2>In the past, I have done multiple projects at a time,

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<v Speaker 2>but it's not the most ideal situation. As I've progressed

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<v Speaker 2>my career, I really tried to focus on one thing

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<v Speaker 2>at a time.

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<v Speaker 3>So how did you get involved with cees. Did they

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<v Speaker 3>ask you to edit their child's stakecare video or was

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<v Speaker 3>it a little more professional this time.

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<v Speaker 2>Yeah, I don't quite remember how Sharon and the team

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<v Speaker 2>first got ahold of me, but that's sort of the

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<v Speaker 2>nature of this. There's a lot of great documentary editors

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<v Speaker 2>out there, many of who it's a community. We kind

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<v Speaker 2>of know each other, and so I know that they

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<v Speaker 2>talked to a couple of other people that probably would

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<v Speaker 2>have done a great job too, But I was really connected.

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<v Speaker 2>As soon as I found out what it was, this

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<v Speaker 2>story about the Marion County Record and the read on

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<v Speaker 2>this newspaper, I was like, Oh, that seems right in

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<v Speaker 2>my avenue. I really liked journalistic stories. It seems like

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<v Speaker 2>interesting characters. They showed me the sizzle and I was like, Oh,

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<v Speaker 2>this looks like it's really well shaw. They had been

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<v Speaker 2>filming for eighteen months by the time they reached out

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<v Speaker 2>to me, so I immediately wanted to come on board.

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<v Speaker 2>Even though we hadn't worked together and ended up being

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<v Speaker 2>one of my favorite collaborations of my career so far.

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<v Speaker 3>How did that go kind of feeling out Sharon and

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<v Speaker 3>what she needed versus what you wanted to bring to

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<v Speaker 3>the project.

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<v Speaker 2>I have to say it was pretty aligned on this one.

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<v Speaker 2>It feels like I consider myself flexible when it comes

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<v Speaker 2>to like working with different styles of directors. But Sharon

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<v Speaker 2>from the beginning, Sharon said, you know that she wanted

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<v Speaker 2>me to bring ideas to the table, and she really

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<v Speaker 2>understood that the editing process is a process of discovery

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<v Speaker 2>and there's things that you'll find that you just can't

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<v Speaker 2>you don't you have to find them in the edit.

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<v Speaker 2>We did a lot of that, and they really put

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<v Speaker 2>a lot of trust in me and gave me a

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<v Speaker 2>long leash to do that. She had great, you know

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<v Speaker 2>vision from the beginning of we want to start with

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<v Speaker 2>the structurally, She's like, we want to start when year

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<v Speaker 2>later with this character that we've been we started filming recently,

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<v Speaker 2>which is what we did, and we kind of committed

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<v Speaker 2>to that and never looked back. So she had some

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<v Speaker 2>really great instincts to build on and then also give

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<v Speaker 2>me days to myself to just dive into the massive,

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<v Speaker 2>massive amount of footage. They really shot a lot of footage.

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<v Speaker 2>I think it may be the most very tay footage

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<v Speaker 2>that I've had for a single project. I've had more

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<v Speaker 2>footage hour just pure hours wise. In terms of the projects,

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<v Speaker 2>they had a lot of archival, like the Beg's documentary

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<v Speaker 2>had a ton to mountains of archival, but for this one,

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<v Speaker 2>she started filming shortly after the raids and was lived

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<v Speaker 2>two hours away and would go there and shoot long

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<v Speaker 2>days with sometimes multiple cameras, and really just got way

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<v Speaker 2>more amazing footage than we'd ever be able to use.

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<v Speaker 2>So it's a good problem to have, yeah, in that respect,

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<v Speaker 2>And I.

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<v Speaker 3>Don't imagine there's a way to shortcut like going through

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<v Speaker 3>all of that footage and cattle logging what you.

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<v Speaker 2>Have, what we did at the beginning. They came to

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<v Speaker 2>me with a this is pretty rare. A lot of

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<v Speaker 2>times I'm getting brought on and there's some sort of

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<v Speaker 2>infrastructure in place where there's an AE and a remote

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<v Speaker 2>setup and a server, and they've already kind of organized

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<v Speaker 2>the project in a particular way. On this one, it

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<v Speaker 2>was just they just had hard drives that had footage

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<v Speaker 2>on them that had been reasonably well stored, but there

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<v Speaker 2>was no project like we started with a fresh project,

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<v Speaker 2>and I didn't have a dedicated AE on this project.

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<v Speaker 2>We had our associate producer, Alexandra, who's very smart and

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<v Speaker 2>able to wear many hats, and I was able to

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<v Speaker 2>tell her, like, let's set up this project in this way,

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<v Speaker 2>and so I had control over that from the beginning.

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<v Speaker 2>And what I had them do is break down the

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<v Speaker 2>days into sequences that were chronologically in order of what

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<v Speaker 2>was being shot, and then broken into however many things

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<v Speaker 2>were happening, so if somebody wouldn't got like b roll,

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<v Speaker 2>that would be a new sequence. They cataloged the entire

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<v Speaker 2>project in that way, and then we had a spreadsheet

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<v Speaker 2>that we could kind of go back and forth between.

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<v Speaker 2>It made navigating the project really easy and finding we

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<v Speaker 2>did that initial setup probably took two to three weeks,

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<v Speaker 2>but once we had that dialed in, it made it

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<v Speaker 2>very easy to navigate the project later without any kind

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<v Speaker 2>of like special plugins or anything like that. I was

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<v Speaker 2>pretty old school. I was just on a hard drive

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<v Speaker 2>with a mirrored hard drive somewhere else, and we've used

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<v Speaker 2>no extra stuff on this one. But it worked really

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<v Speaker 2>well for us.

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<v Speaker 3>What's your method? Then do you go okay through the spreadsheet, Yeah,

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<v Speaker 3>I like this, I don't like this, and just kind

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<v Speaker 3>of pick and choose that way, or you like, what

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<v Speaker 3>is that for you?

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<v Speaker 2>We kind of started with the scene that is the

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<v Speaker 2>first scene. It's the new reporter showing up for his

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<v Speaker 2>first day a year after the raids have happened, and

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<v Speaker 2>he's got it sort of like you put. You know,

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<v Speaker 2>it's a pretty everybody clock. It's not a very sly move.

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<v Speaker 2>It's he's an avatar for the audience. You know, He's like,

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<v Speaker 2>I gotta figure out what happened here, and everybody watches

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<v Speaker 2>the movie understands that that's what we're doing. But it worked,

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<v Speaker 2>It works really well for this particular movie. We really,

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<v Speaker 2>more than a lot of projects, just kind of built

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<v Speaker 2>it out linearly. From there, I did like some thematic

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<v Speaker 2>things that were not connected to the timeline, especially in

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<v Speaker 2>those early phases, but I would say that probably by

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<v Speaker 2>three or four months and we were just we were

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<v Speaker 2>just building forward and then like you know, we'd learn

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<v Speaker 2>lessons and go back and revise along the way. But

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<v Speaker 2>we kind of built the film out pretty linearly and

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<v Speaker 2>didn't want by the time we got to the end,

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<v Speaker 2>we didn't end up changing the structure very much and

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<v Speaker 2>really just kind of were able to refine the ideas

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<v Speaker 2>and dial in the thematics and stuff. So it's kind of

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<v Speaker 2>unique in that sense on this one. But what we

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<v Speaker 2>would do is I would I would edit something, and

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<v Speaker 2>then we'd talk about what do we want to work

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<v Speaker 2>on next, you know, what makes sense, and then they

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<v Speaker 2>you know, encourage me to you know, this is what

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<v Speaker 2>you should work towards, but you know, follow the things

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<v Speaker 2>that come up in the edit and go where you

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<v Speaker 2>need to go that. We're always excited to see new

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<v Speaker 2>things too, which is what you want as an editor.

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<v Speaker 3>When you're editing. Do you have certain moments in mind?

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<v Speaker 3>Because it feels like that's when I'm watching a lot

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<v Speaker 3>of documentaries. It's like you go along, you think you're

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<v Speaker 3>kind of getting that story, you are that reporter, like

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<v Speaker 3>you said, you come in and then there's usually a

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<v Speaker 3>few like rug pull moments where you're like, oh shit,

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<v Speaker 3>that's a whole new twist in this. Do you have

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<v Speaker 3>those in mind going into things or do you find

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<v Speaker 3>those naturally?

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<v Speaker 2>It's a little bit of both. I would say a

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<v Speaker 2>lot of that was found in this documentary. I mean,

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<v Speaker 2>we knew the exact distribution of those things was not

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<v Speaker 2>known going in for sure. We didn't have those like

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<v Speaker 2>mapped out necessarily after working on thirty or so films,

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<v Speaker 2>you know that, like and just the way that movies

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<v Speaker 2>get talked about these days when you take them to

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<v Speaker 2>streamers or whatever, which wasn't the case on this project.

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<v Speaker 2>But you know that, like, you need to have something

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<v Speaker 2>happening every so many minutes to keep people's attention going.

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<v Speaker 2>So it's really about kind of just keeping in mind,

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<v Speaker 2>okay it's been a little time, like we need to

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<v Speaker 2>vary something soon, you know, and just knowing how to

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<v Speaker 2>feel those rhythms, which becomes sort of instinctual, I guess

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<v Speaker 2>after a while. But it really just depends on any

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<v Speaker 2>given piece as well.

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<v Speaker 3>How do you stay fresh on something? I mean, I

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<v Speaker 3>imagine looking at something all day long, living with it

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<v Speaker 3>for weeks, if not months on end, you probably feel

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<v Speaker 3>like you know it almost too well.

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<v Speaker 2>It is a common problem. This project was kind of

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<v Speaker 2>a unicorn in some ways in that, like I was

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<v Speaker 2>really I mean I'm always engaged, but I was really,

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<v Speaker 2>like really into this one from beginning to end. And

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<v Speaker 2>really a lot of times I really like to bring

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<v Speaker 2>in a consulting editor or I like to play that

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<v Speaker 2>role towards the end as well. I like both. There

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<v Speaker 2>are people that will I will come to when my

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<v Speaker 2>project is eighty percent done and say, hey, take a

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<v Speaker 2>look at this and tell me what you see, because

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<v Speaker 2>you do lose that perspective. And we had some screenings

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<v Speaker 2>on this, but for whatever reasons, it just wasn't It

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<v Speaker 2>didn't feel like It's like, I feel like I could

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<v Speaker 2>see this film the whole time, and it felt like

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<v Speaker 2>the rest of the team could as well. I couldn't

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<v Speaker 2>tell you exactly why that's the case for this one

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<v Speaker 2>more than other ones, Probably because there was so much

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<v Speaker 2>good footage. There was so much footage that I didn't

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<v Speaker 2>have time to necessarily, there was always more to discover,

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<v Speaker 2>I guess you could say, so that was part of it,

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<v Speaker 2>But we didn't really We didn't pull in any consulting

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<v Speaker 2>editors on this one. We just had a couple of

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<v Speaker 2>screenings that really helped us to solidify what we were seeing.

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<v Speaker 2>But I think the team was really good listening to

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<v Speaker 2>each other and just the dynamic that happened to coalesce

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<v Speaker 2>on this one between myself and Sharon and Paul and Sasha,

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<v Speaker 2>who were the two producers and was always there and

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<v Speaker 2>would chime in with good ideas too. But that was

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<v Speaker 2>really the brain trust and our dynamic just made it

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<v Speaker 2>so that we kind of were able to They were

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<v Speaker 2>able to see the things that I wasn't able to,

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<v Speaker 2>vice versa, and I think we just complimented each other

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<v Speaker 2>really well.

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<v Speaker 3>This might be a dumb question, but was there still

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<v Speaker 3>shooting going on while you were editing or was everything

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<v Speaker 3>just completely done and you knew the ending.

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<v Speaker 2>No, there was definitely not a dumb question, but it

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<v Speaker 2>was definitely going on until the very end. I think

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<v Speaker 2>the last shoot was in It was maybe after we

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<v Speaker 2>had gotten into Sundance. So I came on about halfway

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<v Speaker 2>through Finn's tenure at the Record, so about six months

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<v Speaker 2>into his time there. I came in at eighteen months

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<v Speaker 2>and they ended up shooting for over two years, which

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<v Speaker 2>was really great, and that was the right time for

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<v Speaker 2>me to come in because there was this great file footage.

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<v Speaker 2>But it was also time for me to be like, hey,

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<v Speaker 2>you know, while you're there, go get a shot of

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<v Speaker 2>the thumbtacks behind Finn. You know, we want to see

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<v Speaker 2>how that smiley face at the beginning has evolved over

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<v Speaker 2>these six months. I was able to say, you know,

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<v Speaker 2>these shots are going to be useful if you go

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<v Speaker 2>get them and really shape how the ending was forming

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<v Speaker 2>as it was happening.

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<v Speaker 3>Now, that's really nice, and especially that they trusted you

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<v Speaker 3>with that.

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<v Speaker 2>There was a lot of trust involved on this one,

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<v Speaker 2>but I think they understood that was somewhat out of necessity.

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<v Speaker 2>In order to get through this timeline, we had to

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<v Speaker 2>refine as we went, I guess is the point. I

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<v Speaker 2>would do a rough draft of things, and I think

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<v Speaker 2>I was able to make something that functions as a

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<v Speaker 2>good feeling on the first draft, which I think was

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<v Speaker 2>useful for this. Obviously, things got refined a lot as

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<v Speaker 2>we went, but they would get refined based on feedback,

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<v Speaker 2>but also based on just how it interacted with the

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<v Speaker 2>things that we continued to build. So the first party

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<v Speaker 2>we got more and more refined as we went.

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<v Speaker 3>When it comes to those screening you were talking about

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<v Speaker 3>how many people were there and are you just constantly

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<v Speaker 3>taking notes or how are you kind of inputting this

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<v Speaker 3>ins to change that needs to be tweaked.

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<v Speaker 2>I don't know exactly how many screens we had. Maybe

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<v Speaker 2>it feels like half a dozen. We I would screen

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<v Speaker 2>it for my wife and they would have like miniature

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<v Speaker 2>screenings as well, you know, but we really had one

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<v Speaker 2>big screening in LA we had two screenings, and I

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<v Speaker 2>think that were sort of like, you know, a dozen

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<v Speaker 2>people or more. And I always want to I love

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<v Speaker 2>my favorite place to be in the room when we're

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<v Speaker 2>having screenings as the editor is like at the front

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<v Speaker 2>corner of the room, like like kind of spying on

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<v Speaker 2>everybody's faces and how they're reacting to any given moment,

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<v Speaker 2>because that's the most useful data at that point is

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<v Speaker 2>to see is this landing. Are there any points at

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<v Speaker 2>which people are like checking their phones? We probably need

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<v Speaker 2>to cut the fat out of whatever that section is.

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<v Speaker 2>But yeah, for this this one, we were all pretty

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<v Speaker 2>confident throughout most of the process with what was what

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<v Speaker 2>was happening, So it was a lot more about dialing

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<v Speaker 2>things in than it was about we weren't underwater in

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<v Speaker 2>terms of, you know, are we even structuring this thing

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<v Speaker 2>correctly or whatever. We felt pretty good throughout, which is

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<v Speaker 2>which is fairly rare.

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<v Speaker 3>So you're just getting back from sun Dance, so This

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<v Speaker 3>is kind of an unfair question, but I'm curious if

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<v Speaker 3>you have your next gig lined up already.

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<v Speaker 2>Yeah, I'm consulting on something. I don't have my next

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<v Speaker 2>long term thing set up yet. But you know the

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<v Speaker 2>thing about working on these kinds of projects, it's nice

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<v Speaker 2>to have a little breath, and maybe I'll do some

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<v Speaker 2>shorter term gigs for a little while. It's really nice.

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<v Speaker 2>It's really wonderful when a project like this comes along

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<v Speaker 2>that you're really invested in, but it also can suck

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<v Speaker 2>you in. You know, I'm glad to be having some

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<v Speaker 2>time with the family more now. On the other side,

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<v Speaker 2>I work from home, but there were days when this

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<v Speaker 2>project was we're I was just consumed, you know, happily,

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<v Speaker 2>but like I wouldn't see my family even though they

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<v Speaker 2>were behind this door. For days at a time.

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<v Speaker 3>I felt like, mister Booster, thank you so much for

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<v Speaker 3>your time. This is great talking with you.

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<v Speaker 2>Yeah, you too, really appreciate it.