CASE STUDY


PAUL ROGERS EDITOR


Paul Rogers studied film at the now-defunct College of Santa Fe, New Mexico and graduated straight into editing documentaries, for public TV in Birmingham, Alabama. Inspired by director Kahlil Joseph’s short Until the Quiet Comes and meeting Joseph’s editor Luke Lynch, he moved to LA.


He worked on madcap sketch series The Eric Andrew Show (2016) and sports documentary You Cannot Kill David Arquette (2020). Through friends in LA, he met directors Dan Kwan and Daniel Scheinert and clicked with them. He worked with Scheinert on comedy feature The Death of Dick Long and with both on music videos.


Their film for Turn Down for What went viral, with over a billion YouTube views. Lynch, Joseph and Rogers are now partners in editorial company Parallax, along with EEAAO exec producer Graham Zeller.


Michelle Yeoh, Photo Credit: Courtesy of A24


EVERYTHING ABOUT THE EDIT


Oscar winning indie film Everything Everywhere All at Once has caused a sensation. An unexpected box office hit, the maverick production has been wowing audiences and winning awards, including BFE Cut Above Award for Best Edited Single Drama. The film’s editor Paul Rogers tells all.


The film world has welcomed Everything


Everywhere All at Once with open arms, a crazy movie that breaks all the rules and has had a cathartic effect on audiences. So far, it’s chalked up over 350 nominations and more than 300 awards, with seven Oscars, including Film Editing. Directed by Dan Kwan and Daniel


Scheinert (known as the Daniels), the genre defying film stars Michelle Yeoh as a middle- aged Chinese immigrant called Evelyn who is swept into an insane adventure, where she alone can save existence by exploring universes and connecting with other lives she could have led. Ke Huy Quan stars as her husband and Stephanie Hsu as both their daughter and super villain Jobu Tupaki. Jamie Lee Curtis is an unlikely tax inspector. The Daniels’ productions are crewed by


142 televisual.com Spring 2023


friends, many of whom have worked with them on music videos. When they asked Paul Rogers to edit EEAAO, it was always going to be collaborative. Dan Kwan pitched the film to Rogers as


“The Matrix, but starring my mom.” The film was financed by indie film studio


A24, with a modest budget, estimated at around US $22m. “Everyone had something to prove,” says Rogers. “It’s an underdog film and every member of the crew wanted to show up for each other.” The shoot lasted just 38 days at the


start of 2020, wrapping early as Covid shut down sets. Much of it was shot over cranked (shot at more than 24 frames/second) to accommodate extensive time remapping in post. It was followed by a year in the edit. “We had these big grand plans of this


beautiful, connected workflow on our NAS [Network-attached Storage] at the office.” In the event, “I just grabbed a hard drive and my computer and I ran,” says Rogers. The Daniels and Rogers worked remotely,


using Adobe Premiere Pro and After Effects, sharing files through Adobe’s Productions. Rogers’ work routine involved splitting childcare with his wife, focusing on home for


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