EDITING
Jamie Lee Curtis & Michelle Yeoh, Photo Credit: Allyson Riggs
part of the day and then bringing renewed energy when working on the edit. The Daniels are also editors, so the
relationship was collaborative. “There’s a trust in that they know the editing process, how it works,” says Rogers. While Rogers did an editor’s cut for certain scenes, there was no editor’s cut of the whole film. “I’ve worked with the Daniels for so long and they have a specific and exciting vision.”
FINDING THE HEART OF THE FILM
With a complex vision, it was vital to find the centre of the movie. “The heart of the film to me was always the family,” says Rogers. “What the movie does well: you think you’re following one relationship and then, all of a sudden, it expands. So, you start off thinking that this is a story about Evelyn and her daughter Joy. And then it expands and Waymond kind of catches you off guard and you realize that is a beautiful family that’s been struggling and then it expands again. Then it’s about Gong Gong, Evelyn’s father…” He describes the movie as “a
smorgasbord of emotion.” But the most
important feeling is “the sense of longing… this desire and longing for connection and our inability and our tendency to prevent ourselves from having that.” Above all, for Rogers, the process of
editing is emotional. “Every film I work on is different, and every day that I go to work I’m in a different headspace emotionally. So really, my process is to find a way to connect emotionally to what I’m doing and kind of ride that wave as much as I can. “One of our powers as editors, is having
emotional literacy, and being this gauge of whether something is working and connecting emotionally…Every editor should be in therapy because it’s another way of training. It’s like going to your Avid or Premiere Pro classes. You’ve got to sharpen your tools and therapy is one way to sharpen our most important tool.” The film owes something to experimental
music videos or commercials; Rogers refers to “super condensed story-telling.” His own influences include Michel Gondry, Spike Jones, Chris Cunningham. “The great thing about music videos is there’s very few rules, you’re just trying to make something interesting and new and exciting.”
“One of our powers as
editors, is having emotional literacy, and being
this gauge of whether
something is working and connecting emotionally… Every editor should be in therapy because it’s another way of training.”
PAUL ROGERS EDITOR
Spring 2023
televisual.com
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