‘If Beale Street Could Talk’ Editors Grapple With Structure, Narrative Expectations & The Weight Of History
Spoiler Alert: This story alludes to crucial plot details from Barry Jenkins’ If Beale Street Could Talk.
On Barry Jenkins' If Beale Street Could Talk—the Oscar winner's follow-up to Moonlight—editors Nat Sanders and Joi McMillon came up against an age-old question. With a narrative based on existing material—spoiled by awareness or historical fact—what is the best approach? How can a story be brought to life with such emotional vitality that facts become an… Read
Annapurna’s ‘Vice’ & ‘Beale Street’: The American Dream Warped And Deferred – The Contenders LA
At Deadline’s The Contenders Los Angeles today, Annapurna Pictures showed off two dramas from their impressive awards-season slate, and a unifying concern emerged: The American Dream, and the ways it has changed over time. While members of the privileged class have bent it into a new, baser shape, for those less fortunate, it’s often denied altogether.
The first of the two films at hand was Adam McKay’s Vice, his follow-up to The Big Short, which took on the 2008… Read
IATSE President Matt Loeb Rebukes Editors Guild Leaders; Calls Their Retaliation Claims Wrong And “Irresponsible”
UPDATED with statement from Editor Guild executive: IATSE president Matt Loeb has sternly rebuked Editors Guild leaders Cathy Repola and Alan Heim, telling them that their claim that she was removed as a director of the union's pension and health plans in retaliation for her opposition to IATSE's new film and TV contract not only is inaccurate but "irresponsible."
The real reason she was removed as a trustee of the Motion Picture Industry Pension & Health Plans, Loeb told… Read
Mark A. Livolsi Dies: ‘Jungle Book’ & Live-Action ‘Lion King’ Editor Was 56
Mark A. Livolsi, a veteran film editor who worked such films as The Jungle Book, The Devil Wears Prada and Disney's upcoming live-action adaptation of The Lion King, has died. He was 56. Livolsi unexpectedly on September 23 at his Pasadena home. The cause was not revealed.
Nominated for four ACE Eddie Awards, his many film credits also include Wonder, The Blind Side, Saving Mr. Banks, We Bought a Zoo, Marley & Me, Wedding Crashers, Almost Famous and Vanilla Sky.
Born on… Read
Francoise Bonnot Dies: Oscar-Winning Editor & Costa-Gavras Regular Was 78
Francoise Bonnot, a film editor who won an Oscar for Z and a BAFTA Award for Missing among dozens of credits, died Saturday in Paris. She was 78.
The France native worked with a number of top directors during her nearly 50-year career, notably editing seven consecutive films by Costa-Gavras — from 1969’s Z to 1983’s Hanna K. She won a BAFTA Award for his 1982 film Missing. She also worked with such noted helmers as Jean-Jacques Annaud — on his 1976 debut feature Black and… Read
‘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