Joe Walker Mcqueen, Joe Walker, Steve Mcqueen discussed on The No Film School Podcast
Hey, everybody. This is John Fusco and you're listening to the no film school podcast. Steve McQueen has made some great movies, so Tony villa new. So what do hunger Sicario? Shame, blade runner, two thousand forty, nine, twelve years. A slave and a rival have in common. They were all edited by Joe Walker McQueen, and Walker's latest collaboration. Widows made its world premiere to a sold out crowd at Toronto international film festival. Last week, it's the Academy Award winners. Most accessible feature, a blockbuster high spill with a stellar cast, including Davis, Liam Niessen, Colin Farrell, Daniel, Columbia, and Elizabeth, the Becky, it's almost a certainty that McQueen and Walker, we'll have another surefire hit on their hands upon its release this fall. In our interview today, Joe Walker breaks down the keys to his successes. Common mistakes sees among young enters and his workflow with two of the best directors in the industry. If you're in post production yourself, this could be a very useful conversation. Hey, guys. This is John fuseco. I'm here in Toronto with a very exciting guest today, and that is Joe Walker. One of our dare say, greatest living editors. Oh my God. Thank you. Take it, take it. I mean, your your track record is truly incredible. Probably mention rattle off the films that you've edited in the past decade. Some of my favorite movies are on that list. You work a lot with Steve McQueen who fulfills for him his features. One of those films kinda changed my life as a freshman in college going to see hunger at I f c, just like rocked my world. I didn't know that movies could really like affect someone as much as hunger affected me. It was very terrifying experience, but I guess my first question for you is, how did you get started as an editor? What was what was it like getting that career off the ground? I kind of spent the longest time trying to work out whether to stay music and in bands. And then I started classical composition. That was my degree in the north of England. But I'd always been playing around with him if you want to check it back a long way. My parents had a eight millimeter camera given to them when for wedding present in the in the late fifties, and I got to kind of dissect that and play. I used to buy for my paper round used to buy eight millimeter movies like the keystone cops, and I've had a setting where you could play things really slowly, and then I'd play Wagner really slowly on a record, get depressed. It was like that marriage of sort of town AMIS Cannes film was always there for me. So then how did you meet Steve? What was what was that I encounter like, well, I, you know, Steve was very well known at the time. He wanted to turn a prize for art and he'd made these insulation. So I'd seen one or two of his pieces, but to be on this when I got the call for an interview. I didn't. You know, I'd read the scripts and I did think, well, if they just make this script, it's going to be hunger is going to be amazing, but I couldn't really take he was going to do with it. He didn't come from the sort of, you know. Drama background or anything, and. It was so rested on an a meeting. And in fact, you know, we taught very well and found that we later in the process I found out that we both been raised in exactly the same part of London, which is a suburb dealing. I lived about half a mile north feeling studios probably the most film, you know, famous thing about the place and he he lived about half mile south. So we had a lot in common. You know, we went to the same public library in poverty to some of the same pubs, and we also had an enthusiasm for. You know politics, two degree. And and and for me, hunger was a chance to kind of look at something. I was very familiar with growing up, but I'd seen a very slow point of view. My parents were Catholic and they were. You know, staunch conservative voters, I guess. And to them, the hunger strikers were pouring in. So if felt a really right time for me to kind of very attracted to the idea of seeing more three hundred sixty degree version of this story which Hunga really provides..