‘The Shape Of Water’ Editor Took On Tap Dancing, Mute Protagonist For One-Of-A-Kind Romantic Drama
Having worked exclusively for the last two decades, Sidney Wolinsky returned to film of late with Guillermo del Toro's romance, The Shape of Water, where he cut together tap dancing sequences, musical moments and a tense heist sequence, a fusion that has resulted in the editor’s first ever Oscar nomination in a career that has spanned 40 years.
For Wolinsky, there are significant creative differences between the worlds of film and television, primarily the fact that in… Read
Editor Tatiana S. Riegel On Managing ‘I, Tonya’s Complicated Balance Of Humor & Pathos
Winning an ACE Eddie on her way to the Oscars for Craig Gillespie's finely crafted dark comedy I, Tonya, editor Tatiana S. Riegel has developed an easy shorthand with the director over a little more than a decade.
Riegel's first project with the director was his visionary oddball romance Lars and the Real Girl, and over the years, Gillespie has remained an unpredictable, surprising collaborator. Receiving Steven Roger's cutting and clever script for a most unusual Tonya… Read
‘Hostiles’ Editor Tom Cross On Cutting Scott Cooper’s Psychological Western
Shortly before winning his first Oscar and an ACE Eddie award for La La Land, absorbed in the limelight of one of the year’s most highly acclaimed films, editor Tom Cross was in a very different headspace as he cut Scott Cooper’s dark, often brutal Western Hostiles, attempting to bring a depth and a psychological dimension to Cooper’s take on a classic American genre.
Working with Cross on his first feature, Crazy Heart—where he served as an assistant editor—Cooper… Read
‘Darkest Hour’ Editor Valerio Bonelli On Exploring A Refreshingly “Old-Fashioned” Way Of Working With Director Joe Wright
Receiving the script for Darkest Hour after working with Joe Wright on “Nosedive,” one of Black Mirror‘s most acclaimed episodes, editor Valerio Bonelli found more of a thriller than the straightforward period drama he was expecting, exploring ways to build tension through the cut and convey the stakes at hand during a critical turning point in World War II.
Examining Anthony McCarten’s script—which depicted Winston Churchill’s unexpected rise to the position of Prime… Read
‘Call Me By Your Name’ Editor Walter Fasano On ‘Suspiria’ & Luca Guadagnino’s Coppolian Factory Of Artists
In editing Luca Guadagnino's sun-drenched love story Call Me by Your Name, Walter Fasano faced the same challenges he's confronted consistently in his two decades working with the director, ever since cutting his first short film on the Moviola—supporting the “fact behind the image” while finding ways to surprise the audience.
Meeting as cinema students in Rome in the mid-'90s, and sharing an interest in everything from John Carpenter and George Romero to U.S. melodramas… Read
How ‘Jane’ Director Brett Morgen & Editor Joe Beshenkovsky Recreated Jane Goodall’s Experience In ’60s Gombe
Taking on Jane, an archival documentary on the life and scientific contributions of Jane Goodall, Brett Morgen's aim was to recreate the primatologist' formative experiences as she had lived them.
Presented with 150 hours of digitized footage—shot in 1960s Gombe by wildlife photographer Hugo van Lawick, who at one point was married to Goodall—Morgen and editor Joe Beshenkovsky soon realized that the task at hand was much more complicated than they had imagined.
While Natio… Read
‘Molly’s Game’ Editors Alan Baumgarten & Josh Schaeffer On Learning To Work In Aaron Sorkin’s Style
Taking on Molly’s Game, Aaron Sorkin’s directorial debut, without ever having cut a project the scribe had written, editors Alan Baumgarten and Josh Schaeffer were challenged with learning to cut Sorkin’s long, fast-paced, dialogue-driven scenes, while confronting a narrative of great structural complexity.
Brought on to the project by editor Elliot Graham, an Oscar nominee who had previously cut Steve Jobs, the editing duo quickly noted a “very rare” quality of Sorkin’s… Read
‘Baby Driver’ Editors Jonathan Amos & Paul Machliss On Edgar Wright’s Ultimate Audio-Visual Expression
Having worked with Edgar Wright on several films before his groundbreaking Baby Driver, editors Paul Machliss and Jonathan Amos were well-acquainted with the director’s love of true cinematic experiences, as well as his audacity and desire to use every tool at his disposal to tell his stories.
While Wright has pushed his own limits and those of his collaborators on each subsequent film, Baby Driver presented perhaps the grandest challenge to date in the form of a heist… Read
‘Wonderstruck’ Editor Affonso Gonçalves On The World You See, And The World You Hear
Working with Todd Haynes since the time of the director’s Mildred Pierce mini-series, Brazilian editor Affonso Gonçalves has long admired the joyous experimentalism Haynes brings to his projects—which is no less present in his latest outing, Wonderstruck. Based on Brian Selznick’s novel of the same name, Haynes’ film interweaves the mysteriously interconnected stories of two deaf youths growing up in two separate eras, the 1920s and 1970s.
Wonderstruck presented a number… Read
‘Dunkirk’ Editor Lee Smith On Crafting Larger-Than-Life Experiences For The Eyes & Ears
A sound editor before he transitioned to picture editing, Dunkirk‘s Lee Smith has spent decades honing his ability to produce an elevated cinematic experience for the eye and for the ear. That immersive experience with sound has been critical for the two-time Oscar nominee when it’s come to the films of Christopher Nolan, one of those filmmakers who is keeping the process of shooting on film, as well as the theatrical experience of viewing films, alive.
With Nolan since Ba… Read