JIM, Director, Editor discussed on Behind The Screen

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Automatic TRANSCRIPT

In many were counts with the first group. Seventeen year old in history with money in their pockets. We're here at the Fox lied and I know we're sitting at a community table in the editing suite where you cut the movie and I know a lot of collaboration happens at this table. Tell us about that. Well this space is where I right. It's where we edit. It's where sound is cut is where music has cut. Its where preacher projects are developed. It's where are the art reproductions in the space. We run I try and run as much as I can through its. I'm very lucky to have the space. I mean it's a great great space with many many smaller offices for everyone to work in but I'm a big believer in cross pollination in no one getting into precious I think one of the toughest adjustments to make as a director coming from doing everything myself as an adolescent making super eight films and then going to films film's going I'd cut them and I'd record the sound and I was kind of a one man band doing visual effects and figuring stuff out I mean not good but but but was when you start doing it quote unquote professionally. These guys have heard me say you become a brain in a jar. You can't don't touch anything you're kind of just this this talking brain that people wheel in and out of one person sphere and into another and We have unions for that. Yes and and they're very useful but one of the things that's not so useful to me is the way people get turf. -I not so much coach just protecting their turf for me but also protecting their turf from each other. I as I've worked I've really mostly enjoyed crew. Who Invite and welcome the thoughts of others or more importantly? It's up to listen or do what they're hearing from someone. It's just that they're not so insecure insecure. I put it that they can't hear it. I think it really is valuable for everyone to be able to kind of talk and run into each other and worry allowed allowed or whatever or even sometimes like the three of us are here at this table having discussion and the dialogue editing team or music editor is is just sitting there. Eating is tuna sandwich. He's absorbing stuff he's hearing. What's what's what's bugging us and it's also it's that ability to have that you can get an idea? Dia Mike and go down the hall. Grab me or grab Ted on music or and go hubba Hubba and then leave mean just kind of like can you find something in real three. There's this section. Can you come down and see me and it's just I mean. Obviously this could happen in a lot of cutting rooms but I love the way these guys run this their airspace. And interfacing with it in which there's a sense that people can poke their heads in and kind of understand where everyone's at and try and fight over dialogue. Yes and yes. Yes new design. Yes we I mean. There's a lot of that going on and there's a lot of them hearing about what's coming next for me. There's a lot of if I can. Also it's hard to sit behind one of these guys and you know the glacial pace of cutting is sometimes. It's like yeah I either go catatonic share consuming untold Montes popcorn or or or or running away to take calls and then It's really great to also be able for me to be able to kind of get out of their space and Co visit music or the facts or go right and then to be able to kind of come back and do it I think all of it makes gives you healthy perspective. The room is great. But it's also the pop how how it's populated and. I think that I think that over the years. It's been filled with filmmakers and I mean that in the best possible sense which is there's we're not just the three of us as Jim referred to earlier. Everybody's thinking the movie story character. I mean it's our dialogue editors or music editor is You know the assistants. I challenged them to like talk to me about the movie. I leave my door open. I want to hear what they have to say about stuff and so And everybody's thinking about the movie from story place. It's not just like we do. We have that cool sound of a car or do we get that right piece of music. Course that's part of the job but they're thinking about it in the same way we're Thinking about it and you know that sounds like it's that should be obvious but you know I've been in other situations where it's like I do. I'm compartmentalized I do this thing and I only do. This is one thing and that's not what happens in this cutting room and and you know we get I roll in in the morning. Get My Cup of coffee. Start talking about stuff and it can be just a free form bunch of Grab Asri about what's happening in the political world then suddenly segues into the movie and you're talking about something. Jim Kozo. What are you were saying? Well you know just occurred to us and that's sometimes where we get our greatest. The idea is just off the cuff. In the moment I mean we had brought up that thing about new designer earlier but that was one of the that was one of the more that was one of the funnier experienced experienced. Ever had in a cutting room. was that lunch when we were here during the DOTCOM well you go. Well help it audience. Who doesn't know what you're talking about like I don't understand? There's a scene in the film and Willow Springs. Yes when Candidates driving his. They're doing the warm up flop and then Dan Gurney shouts two miles. Hey what's with the new windshield. And he says new new design and then and At one point which for the audiences that can smashed zone when Chelsea during the process at one point point we were. Jim and I were kind of doing what I call Zamboni passages at some point. I usually take the movie and go through it and we were trying to figure out how much of like the idiots and critic Ken Miles how how much we could go with before it became like you know too much and so we lifted line for Awhile and during during that time whether Jim knows this or not. Every single person on the crew came to me. Well Jim wasn't around us. You gotta put that line back in. That line is Great. You gotta put that a pick and so I kind of mentioned the gym. Hey you know it happened right. Mind you mind Maybe we should put that line is now now. It's live without it. I think it's I think it's really working. I said okay fine. So we're at lunch here. All fifteen of us one day and it's somehow comes up in conversation and I just take my cue. I'm like okay so I made this impassioned plea Jim. I'm sitting at one end of the table gyms at the other. I'm like you had five arguments and I said it's about it's about his. He's intrepid and it talks about like how smart he is. He can come up with some now. I don't WanNa do I WANNA do and finally at the end but I just throw up my arms and I looked at the crew and I said I tried ride I tried. I did everything I could. And there was a pause and is a new design and he mimicked and Jim Turner said okay. Fine put it and I was like can kidding me like everything that you're taught editorial school look appeal the director and it became the guy the other guy mimics the line online. Let's talk about another seen There's one during which I understand also went through some changes when Carroll Shelby is called in to Ford headquarters and you have the perception that he might be fired. Tell us about that. Same scene in the movie right now. Carol sitting in the waiting room and he's watching this folder go back and forth and you can hear behind closed doors that something's going on there. Some impassioned kind of conversation vision. That scene was actually shot and I showed at the gym. And you know as I recall Jim was like yeah. It's just it's not working. It seems like we're a little flat and then Jim came if the idea like. Why don't we take that? That sort of preamble conversation that was on screen where the executives are sitting in the room and having a having a debate about Out whether or not care was going to make it You're going to be fired or not and put it behind the door and play the seem more like kind of like a principal's office and and so I did that and he came back. This is during production. I think at one point and I showed him the scene again and executed that you know it was it was interesting. It was a very interesting moment because Wow that's much better. I think it works pretty well right now and stuff that you've done inside the rest of the scene is I like those changes to and I. I didn't do anything anything and it was just to me. It was really exemplary of like sometimes you feed too much to the to the audience and you know by just taking out and not letting audience know where you're going and letting the discover it's like that's the great thing about making movies. I mean I love it when that stuff happens and that was that was really fun moment. I like that seeing in a lot because it just holds it holds attention. Because you just don't know how he's going to win the day part. I had done a rewrite in the months before we shot and one of the scenes that I done a lot of work on was that scene and that red folder. Preamble with something I wrote because the the idea the scene was always there but it was just carol coming in and having in this conversation and I felt like it wasn't cinematic that there was a I wanted to understand in some way through the camera. What the problem making a car for Ford was and so? Interestingly like th in my mind the thing I'm trying my ID is trying to protect tact is what I'm looking at this sequence and it's not working with Mike is I wanNA protect the most vulnerable thing is the scene of Matt Damon Watching Red Folder. Move around like in. Ah I'm not young in this business anymore. I know the easiest thing to lift would be kind of a moment like that but I really like it and I like that this quote unquote action movie is stopping to have kind of action sequence about a red folder. And I like to perversity of it I also I liked because it's what the movie is about. which is this kind of interface between art and commerce and committees and and tours? And how. That's really what the movie's about and And in some way that red folder to me became a way to say that so every interest for me wasn't trying to figure out how to make that idea work not also be a waste because it took me half datasheet that damn nothing in there about my trunk and your lovely liquor. Portmanteau you're holding the sixty two edition of the sea. You can stick this stick with some pain billion. Yes he does he really does the bill is. I'm just doing my job. Fill fill in my experience various. Listen to me something like this. There's always a middle ground all right and and I understand you know how he gets on Race Day or not gonNA keep us over and trump..

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