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Episode 101 · 4 months ago

THE HATEFUL EIGHT (2015) with Assistant Editor Andrew S. Eisen Part One

ABOUT THIS EPISODE

Parth and Trent talk about The Hateful Eight (2015) with its assistant editor, Andrew S. Eisen. They also regal you with stories of Parth's famous wings...

Edited by Parth Marathe

We are tonight's entertainment. You can't handle the true the fire risals pizza. You're a wizard, Harry, you know. Do you think that's where you're breathing? Groovy. I don't have friends. So, Trent part hello. We're both hiding from Jackson Clark. This is true, oh, the four time friend of the show, the most the most visited guest of all time, besides the those currently present. Yeah, I just thought that'd be an interesting way to open the episode. I was going to ask you what you were eating, so I guess you can tell me that. But oh well, I mean we can't just abandon the first topic you introduced. Jackson Clark has covid nineteen and he's quarantining a few rooms away. Um, but there are several series of doors dividing us. Um, so not dividing you. I live in a different house. So No, yeah, but I think we remain healthy and we remain optimistic about the podcast. I don't know if I remain optimistic about the state of the world. Didn't I text you yesterday that the well, I you very ominously texted me. Let me see if I can find it. The world is slowly ending to which I responded. Why Question Mark? And you just said the air is thick. Well, just because it was so fucking humid yesterday, and then everyone and their mom was like it's so hot, and all I could think whenever someone said that is it's only going to get hotter from from here on out, for the rest of our lives. Um, and so that was sort of not my realization because I think we've all known that for a while now. But yeah, I wasn't too existential in my text. I it seems like you were trying to treat it with a level of seriousness, which I appreciate, but that's that's what I thought. You were trying to be like poetic about it, like the air is thick with, I don't know something, no, it just like so I kind of just ignored it. I think I sent you that text when I was on the NJ transit train to New York and I was huffing and puffing just because there was no air on that train. And so it wasn't that deep, I'm afraid. But what have you been eating? Wait, did you answer? Oh, I just had a blueberry scone. I chopped at whole food for the first time ever. Um, it was a pretty cool it's overpriced, more like whole paycheck. Am I right? Just had a blueberry scone and some CRAYON CRAN grape juice. It was Delicih and you, Um. Well, I guess my thing ties into the Jackson Clark thing. Um. I had a get together at my house on Wednesday, which Trent attended. Um, because my parents are out. This was a parents sanctioned event, though. They knew about this, don't worry, Um, and we all got together. Thank God, your parents sanction the event. I was I was worried. If any parts family members are listening, we got we got the we got this, we got permission, we got the sign off. It was less than ten guests. It was more of a hand it was more of a big hangout than less of a small party. You know. Yeah, but, Trent, what did I make? Oh, what did you make? Uh, I think this has to go back even further to the last time you had people over, when you made what we now call parts famous NACHOS. Um, and the one time I made Nachos that were not that good, and everybody won't let me hear the end of it. But what was wrong with them? Well, the cheese wasn't melting properly and it was not the type of cheese that I usually buy, and that's why I was like, this is like aggravating...

...to me, because I had it in the oven for like like an hour or something, and I was like, I don't want the chips to like, I don't want them to blacken Um, but the cheese just was not melting. That doesn't happen with the cheese I usually buy. And now Jackson Clark Um and Trent Delgare taunt me with parts of famous NACHOS. Well, I think we came up. I just entered the room and just for the funniness of the phrasing, is said parts famous Nachos, and then after that they ended up being mediocre, and so you Kinda like if they were good, we would have like, they still would have been parts famous Nachos all the same, but it was. It's just the connotation. But this time you made wings, which you were asking us to not call parts famous wings. But after eating them and after how delicious they were, I think that your Nacho should be downgraded and your wings should move to Hollywood and find fame. But these wings were very spicy because I put a little bit too much red chili powder on them before I put them in the oven. Yes, and and it was very hot. The air was thick, and so, yeah, the only thing hotter than the weather, though, was parts of wings. Oh Um. But anyways, to answer your question, today I had the leftover, the remaining leftovers of parts famous wings. Yeah, you had like a mango sauce, but then you also have like just frank's red hot. So really something for everyone at parts unsupervised, less than ten person House party. But enough about my wings, your famous, your famous wings. Well, Trent, there's some major, like clock action going on in are you think it's like a clock? Well, you know what. You know what I meant. But anyways, Um, I think it's time to cut into this episode, because to the into the intro at least, because it's into the intro of the episode, to the hatefully intro episode of the hatefully episode. Interview at episode que the Intro. Welcome back to craft services, where we talk about the movies each week. We talked about a film and hopefully I have a crew member of that film to talk with us about working on the picture. This week we have assistant editor of the hatefully, Andrew Rizon. Yes, we did. It was awesome. Um, I really enjoyed myself, didn't you? I did. And speaking of enjoying ourselves, Trent had another story he wanted to tell, but I stopped him. Well, I stopped him from telling it at the beginning, beginning for being transparent about what transpired. Well, because what happened is I've heard some people say that we go on for a while at the beginning of our episodes, so I was like, well, I want to at least cut into our intro so that people don't, you know, just write this episode off. Um, is, this is our one D and first episode. We're living in a post the world, we are. congrats on a hundred episodes, Trent. Yes, UM, basically, the only reason I want to bring this up is because it's one of like the two moments of childhood wonder I've had in the last five years, and it was Jackson introducing this game called Sardines. It's basically hide and seek, except one person hides and as soon as UM and everybody goes looking for them, when one person finds them, they have to hide in the same place. And we played this in my house with all the lights turned off, and I was the first person to hide. Yes, and for anyone who played hide and seek in the dark as a kid, it it's like that, but like so much more fun,...

...because people are like slowly disappearing and it's dark and because you're calling out, you're calling out for people's names and suddenly stopped responding. And and so I was. I was hiding in my closet and I realized, Oh my God, they're calling out for names and they're disappearing. This is like Batman. And then I realized that my phone was connected to a speaker that we were using for music of an hour or two before, and so I started playing can't fight city Halloween from the Batman Soundtrack, which is the music that plays at the beginning of the Batman where Batman it's like about to fight. You know what, there's a tool like all that ship, you know, Um, I must push myself. Yeah, and so I connected my phone to the speaker and played that. And as if it wasn't scary enough, just like like guys, you grow up and you think the darkest and that's scary, but then like walking around and like the dark it's not fun, and especially when part of this playing Batman Music and like, you know, no one's going to pop out at you, but everyone except you was just in unfamiliar territory and you had some creepy furnace rooms and stuff that we had to like look through. But, Um, I hate to compare it to among us, especially because I've never played that game, but people kept making that reference. But it's it is. It was kind of like among us in I R L, if you will. Yeah, Um, but my only other moment of childhood wonder, as in I was introduced to something that made me feel like a kid again, is the game settlers of Katon, and I was like passed the point in my life where I thought that New Board Games could be fun. But it's awesome, and so is this. And we played knockout, like what it did. We were it was like we were like twelve, but there was alcohol what anyways. But you know what else was awesome? This interview with Andrew Yeah, with Andrew Eyes and the assistant editor of the hateful eight and other cool movies like are in the galaxy of volume two and the Mandalorian Yeah TV show. Oh wait, and Django and chant. Wow, he's on his worst behavior. Maybe he just likes cute. He likes qute like the rest of us. I remember he wore his really cool once one time in Hollywood shirt. He did indeed. But yeah, this is a really cool episode. Uh. He talks about how he got started in editing, how we met Fred Raskin, Um, just a lot of cool stories and I think you guys are going to enjoy it. And and this is only part one. Is a two part yeah, this is a two part interview. Used to me. Was it very long or is this more of a the interview? No, the interview was like an hour and there was kind of a natural stopping point in the middle, and so I felt like too forty minute episodes was preferable to one hour and ten minute long episode. And to any curious parties who may have listened to the end of our one episodes spectacular where we revealed our next episode as Oh, yes, that's changed. Yes, that obviously has changed, since we're talking with you now about hatefully e Um. But there are special guests who will be announced when the time is right. Got Their goal bladder removed and so they are recovering and when they're ready to discuss jaws, we will discuss jaws and then jaws two, and then draws three, D and then jaws. Not. It's not called jaws four, just jaws, jaws, Colin, the revenge, and maybe Trent and part will Um. Yes, there's been big talk, you know, in an interesting state, incapacitated. Let's hope not Um, but for now you're just gonna have to settle for this really awesome Andrew Eisen interview. So you know, I think, yes, it's fun, the juxtaposition of the professional elements because, like, we...

...got Andrew Eisen, assistant editor of the hateful, a awesome guy, professional, worked with Qt, but then also we're just like talking about plant high and seek and getting drunk at our parents house. And so what a life we live. Yeah, you got everything here at craft services, the full spectrum of the twenty one year old life, you know. Yes, part murerate, the the experience, Colin, the experience Nice. All right, I think it's time to cut into the INTRO. We've we've held them off long enough, long enough, yes, yes, Um, okay, enjoy the interview. If you want to talk with part and I again, just wait until the end of it and we'll be back, don't worry. Que the interview. Hello, everybody, and welcome to our interview with Andrew Eisen. He's worked on such projects as Django and chain, guardians of the galaxy volume two and the Mandalorian, as well as our film for today, Quentin Tarantino's the hateful eight. Thank you so much for being with us today. Thank you, thanks for having me. So, just to start off, what was your relationship with film like at a young age? M Hm, UH, good question. I I uh, you know, I'm a child of the of the seventies and I so I grew up in a very analog world and, and you know, this is a little kid, my dad used to have this uh, eight million meter camera that you know, that he used to run around following us with, and it was it was this it was called a Kodak Brownie camera and it was it was basically a box that had three Turret Lens on it that you could just like sort of like you pull out and you could rotate the Lens. You can have like a like a fifty million meter or maybe a twenty and a you know, eighty or something. Basically, why medium and close and and basically and and he and he would just follow us around and then we have movie night where we, you know, set up a sheet on the wall and with an eight millimeter projector and watch those those eight millimater movies and just sit there in the awpcorn and laugh and all that night I basically fell in love with just, you know, like so many of us, just like the you know, the dark room, the flickering lights, the seeing everybody kind of moving around and Um and the fact that, you know, we could reproduce ourselves and then Um, and then I started, you know, going to the movies and sitting in movie theaters and and just being completely enthralled with Um, you know, you know, seeing the you know, the lights go down and and the and the you know, the Warner Brothers logo come up on the screen and you're like, Oh, you know, today we were so over. There's just there's so much content and there and you know, if you're growing up in this world, my kids, they're just used to like turning onto television and having a thousand, ten thousand, a million things to watch, and I think that that, Um, the the abundance of this, the shine, the whatever of of you know, I'm sitting there and that in a in a dark room and watching a movie and being a unique thing that you had to go to a movie theater to do. You had to you know, you paid money, you sat down kind of like a few years ago, like we all used to. But even then, you know, with because of all the content today, I do think that the feeling I had as a kid has a sort of Um, sort of a lost h is lost on a lot of people. Maybe not, maybe, maybe every kid experiences stuff, but that's what that that was. So that was how I sort of like, sort of fell in love with it. And then years later, as a just as a preteen, I remember digging around in our attic and I find and I found that camera and I was like wow, you know, I haven't seen this camera in a long time, and I picked it up and there was some film in it and I um, so I just started shooting some stuff and then I took it to the local drug store and I had it developed, got it back a few days later and I watched was, oh my God, you know, I just...

I just filmed my first stuff, and so I have all these like toys in my bedroom and everything and I would, Um, I would get like all my toy cars and my hot wheel sets and stuff like that. And I started. It was an eight millimeter camera. Didn't have like a single frame, you know, I didn't have stopped motion. I literally you pull the trigger and you get like, you know, a second or something. But I would I would shoot like, you know, stop motion stuff with my all my stuff in my room and then watch and then get it back, you know, and watch it and see all my stuff moving around all by itself. I don't want something while he's in my hand in there, um. But it was really I was I was developing this real love for this, the idea of, you know, being able to manipulate time and space and and just still like watching it on that white sheet on the wall in the dark room. Just there's something about that that just I just fell in love with. And I would go to the local library and I I would, you know, they used to rent eight millimeter movies at the library before there was vhs, believe it or not, and I would, you know, rant Laurel and the hardy movies and Charlie Chaplin, all these movies. Or sometimes they would have like more mainstream movie that Um, you know, that had been out five or ten years ago, and they would have like a five minute clip of that. That's all that would fit on the film reel and you just watch like an extent of a movie, always with no sound. And that that was, you know, I sort of I I sort of fell in love with that. And then, Um, as a teenager, I got into photography and I got and I also went and bought myself a super eight millimeter camera that had a lot more capability on it and I started doing a lot more stock motion stuff and shooting movies with my friends in high school and writing these stupid scripts and going out on the weekends and shooting stuff and, Um, and just fell more and more in love with it. And so I'm one of five kids. All of my my my dad was a doctor, my all my siblings, my older siblings, were all sort of Um, you know, very studious, uh, you know kids, and I was sort of more the art artsy dreamer in the house. It was, you know, you know, I did okay in school. I was maybe like a b plus student or something, but I I didn't put any work into it at all. I I spent all of my time Um, making, making my own little movies, and eventually I went to film school in Toronto, that's where I'm from. UH, school called York University that had a film production program and UH, and I, you know, I honed my craft a little bit more there. But Um, it wasn't really until I got up to the real world that I really started, you know, learning. And I'm just, you know, getting good at Um, the craft and Um you know. But but through all these stages of my life I just kept, you know, advancing, advancing, advancing in terms of Um, you know, the craft and and it was something that started out as a course, sort of a childhood hobby and a dream and became a career, uh, somehow, stupidly, without any real Um, you know, I didn't really have a plan, to be honest. I just kind of like followed, let the wind take me where it took me. And you know, uh, it was just more, more my passionate sort of drove it, but not, um, not really anything intellectually. So how did you gravitate towards editing and like when did you know that like that was the path for you? And like what was it about it that was so attractive. So so, going back to those childhood things, you know, after you get the film back you, I bought these little I don't even know if you guys can imagine what I'm talking about, but they would have it would be like a little viewer with two little film, little wheels on each side, and you put the film in, feed it in through one side and you hand crank it. You and you want you watch the film going, you know, and that's how you would edit and you would you you could move it, slide it back and forth, find your cut point and then, you know, basically, in those days really all I was doing was cutting out bad stuff and then just splicing, you know, splicing everything else together. But Um, I kind of enjoyed the craft of that. And then when I got into film school,...

...what I really thought I was going to be a director, and that's really in my mind. I've made all these movies with my kids, I was making, I mean not my kids, my friends and but I you know, when I got to film school I started to realize that that was gonna be. It's very daunting task. It's a you have to have a certain type of personality, you have to be you're kind of like the general of an army. Everyone's you know, and everyone you have to be able to have you able to see the big picture. Um, everyone's coming at you. I mean I didn't really realize that back then, but seeing it now, you know, the directors I work with like, you know, you've got a crew of a thousand people and everyone's coming in and it's like which color fabric do you do? I want, you know, how where should we put? Just so many things, and it's like I don't want to be that guy. I really enjoy sitting in the dark room and putting it all together after it's after it's been shot. And so in film school I found myself not only editing my own stuff, but a lot of my colleagues and my good students would come to me because they see that I'd be all night in the labs editing and they're like can you do my stuff too, and I would basically start editing everyone's stuff and it was just something I just I love it. I like I'm a I'm a more of an introverted type person. It's more so then and Um, so being alone in a room and just sort of, you know, putting these things together. This was very exciting too, and it still is. I do it. Um, I work crazy hours when I'm working out and I enjoy every minute of it. I'm totally I get totally lost in editing. So to get to the film of the day. Um, how do you get involved with the hatefully people? It was two thousand fifty. Back in two thousand twelve they're making Django unschained and Um, you know, if you know a little bit about Quentin Tarantino in his movies and his crew, he's very loyal to his crew. He keeps the same crew forever. I think act one of his script supervisors is one of the people who's actually been with him since reservoir dogs, all the way until even once upon time in Hollywood. Most most of them. Some people have died and things like that. One of the people who died was Sallymankey, is editor Um and, which was very sad and very tragic. and Um, a very close friend of mine, Uh Fred Raskin, had worked with Quentin and Sally as an apprentice or a second assistant editor on the kill bill movies. And Fred, if you ever have a chance to interview music, there is a fascinating love to have him on the pod putting that out there. Reach out to him and see if it come on. He's Um, he's just, he's just, if you know what I mean about Quentin Tarantino. Quentin Tarantino obviously is a huge film. I wouldn't even call him a boff. I would say he's more of a film savant. Um and he uh and and Fred was able to keep up with him back in those days even as, like you know, he's just, he was like, you know, young kid on the crew and in Quentin is very, um, engaging with everybody on the crew. He's he's not a Um, a Prima Donna at all, at least not when it comes to the editing room or any time I've ever seen him. and He um and so he obviously engaged Fred and and Quentin also owns a movie theater called the new Beverley in Los Angeles where he shows all these, you know, everything this past summer. Oh, terrific. Yeah, so it's it's amazing. It's just feels, you know, old time movie theater. Um and UH. He shows a whole gamut of films. It's not it's not just, you know, retro stuff. It's any it's anything that he just feels like putting on. He curates the list every single month. Um. And so, anyhow, long story short, Fred would go to these his theater. He Quentin would often be at the theater. They'd see each other. That became very they became close. Even though Fred was no longer working with them. He Um, he stayed in touch and somehow Fred's name popped into his...

...head when he realized we had to find a new editor. and Um. And so I think you know, Clinton, I don't know what went on in Clenton's head, but he, somebody took the gamble to take Fred, who had already now, Um, started establishing himself. He had like like all of us young editors, and I'M gonna go off on a bit of a tangent now. Um, we, you know, most of us, start out as assistant editors and we uh, you know, we try to work our way up. We worked with, you know, the best people we can get our hands on and Um, and you eventually hope to get moved up the chain or if you can't move up within Um, that hierarchy or that structure because everyone's already in placements. It's really hard to move up. You you go off on your own and you start working on Indie you try to work on an indie movie for no money and hopefully the director you're working with turns into something and makes a good movie and that it propels me into that next phase. Um, I've done that a bunch of times in my early career and and the movies absolutely nowhere, never be heard of and the directors never continued on. And so it didn't always work out. But Fred happened to hook up with a guy named Justin Lynn who um turned out to be justined and furious movies. And one of the earlier movies before that was a movie called Annapolis with James Franco that Fred, you know, edited and they developed a great relationship. And so here Fred was, you know, younger than I am, and and and a good friend for a long time and had now was not now propelled way past and and and was working on all these big movies for so anyway, Quentin hired him to do Django on Shane and Fred and I at the time I was Um, just in between projects. I was trying to you know, I was looking for editing work. Wasn't nothing was really happening at the moment. I've had a pretty steady career for the last I'm not going to age myself, but for since I started out. I've had very, very little downtime, but in that particular period I did. And he said, Hey, do you want to come work with me on the movie? And I said, you know, we thought, would it be weird because we're friends, and I said I it won't be weird for me. I'll do you know, if I do my job, I'm gonna do my job. Don't worry, you know you're the boss that. And Uh so here we were working on this Uh Quentin Tarantino movie. I had not met Quentin yet. I was terrified. I was very, very intimidated by the fact that one day I was going to meet him. We were, you know, you Um, working in the editing room and getting dailies every day for months before Quentin finally finished shooting and came in. And I remember the first day that Quentin came in and it was a summer day and he was wearing, you know, shorts and a t shirt and he kind of like like a little boy, you know, going to school, you know, and I was like he was not intimidating at all. You know, I'm relatively short, he's pretty tall. Uh, that in itself could be intimidating sometimes. But no, he came in. He was that sort of mood you see him in sometimes in interviews, like he's just very happy and excited and just very passionate and just you just like always, always kind of laughing about everything. And and I introduced myself and I told him what a fan I was and and the barrier just fell down right away. So that basically I got involved at you know, working with them on Jangle and Shane developed a terrific relationship on that movie and so when the hate fulay came around, it was a no brainer that, Um, you know, I was going to continue on. I had been. I was working on another movie at the time called Concussion, uh, with movie and Um and, and that's and in hate fulate sort of came up out of nowhere, like I mean, it had obviously been brewing for a long time on on the on their end, but I did not know who was happening. You know, he plent and just sort of decides, okay, I'm I'm now, I'm ready to make it and he just makes it, unlike other filmmakers who have to wait for a whole studio process. Quentin decides he's ready to shoot. It just goes like a few months later. And so, Um, I had to leave concussion to go to hate fulate because there was no way in a million years I was not work appointing again.

Um, as I anyone who knew me at the time back in two thousand twelve and we did Django, knew or heard me gush about Quentin and the process and the movie and and that it was my favorite experience of all time in my whole career up until that point. And so I you know, as as good as my other experiences were, and concussion was terrific. Um, I had to go out and work on hate philate. And so I had just come back from Pittsburgh on concussion where we were shooting, and we thought we were gonna be editing pilate in Los Angeles while they filmed and tell your right. And instead they called us like two days before shooting began and said, oh, Quentin had no idea you guys were staying in Los Angeles. He once throughout a year. So Um, we had to like I just fairly finished unpacking from the Pittsburgh thing and I had to pack up and go to tell you right again. Let me tell you, there are worse things in life and going to tell your right to edit a movie. Um, it's amazing up there, it's gorgeous and it's uh so it was the perfect environment to be to be editing, Um, a movie that took place there, you know, in the snow. So we've talked to like editors and assistant editors and editorial consultants all that Jazz. But you are awesome credit as an UH editor and an associate editor and I was wondering what the distinction was there and what, like their responsibilities are, you know. So an associator scorted like this sort of nebulous term, and it's Um. The the editors guild does not acknowledge the term associate editor. As far as the emotion picture editors guild, our Union, is concerned, there are editors and there are assistant editors and there are apprentices editors, but there's no such thing as UM associate editors. However um it's. It was a way of giving assistant editors who were sort of doing work above and beyond just assisting, Um, a way of acknowledging the work that they've done on the film. So on. Hatefully, there's a whole Um, there are a whole bunch of scenes that I um that Fred didn't have time. You know, it's a very long movie and Um, he would just say hey, here, why don't you edit this such and such a scene, and I would go off and edit it. And, you know, if, as long as it doesn't change radically, they don't throw the whole thing out and start over again. They you know, if it was just one scene. You know, most assist editors get that opportunity to edit a scene here and there. Um, I was. I was just very involved in the edit, uh, and very involved in the process along with Fred and Quintin. They they pretty much brought me in Um, during you know, their edit sessions and wanted my my feedback and contribution and thoughts and and that sort of went on for the for the year that we worked on. So many wait a year. But Um, uh, that that put me in a position of of, you know, getting an associate editor credit. Sometimes, you know, I you know, in other cases I've done the same thing, gotten an additional editor credit and in other cases I've gotten actual film editor credit, depending on the amount of working. You know, one did. Um, Quentin had never given a given out a credit like that before any of this movie. so He um, so, yeah, so I. But so I was gunning for a for a like I think additional he said, you know, let's let's, you know, the associate editor. And they also gave me two credits because visual effects editor as well. Um, because, unlike most of his other movies, uh, patphilate did have visual effects in it. I mean we shot in Minis Haberdashery. Um, they built the entire place, the actual place Intel your ride on the side of the mountain, just...

...like you see in the movie. Um, but we actually ran out of snow. It just basically was a bad winner and it was just not enough snow, and so they eventually Um, it actually really had nothing to do with snow. They wanted to they wanted to film as much as they could inside. When we saw at the windows, you could actually see it's snowing and you could see all this other stuff. But they realized when it came to the night stuff, that you weren't gonna see anything out the windows anyway. So they built, they recreated the exact mini typerd astually at a studio here in Los Angeles and it was the middle of summer. It was ninety degrees outside. You're like, you know, shorts and t shirts, show up at the studio and you go on the set and you have to put on a ski jacket because they throw it. They dropped the set down for like twenty degrees below zero so they could have the breath and that everyone would actually be cold. So admit. There's a scene where Bob the Mexican, Bob Mexican, and Um and U Markee's I'm trying to remember their names now. It's gonna Lat since I've actually worked on and watched the movie, but we UM, they're, they're they're face to face and he's he's accusing him of being a liar and you see the breath coming out of their mouths and everyone said, oh, that was such a fake breath and I'm like that's one of the few things in the movie it's not fake. That was real and that was shot in Los Angeles in the summer. Yeah, so basically, you know, just being very, very involved, just being at working at a level that was above and beyond what it's just an editor to, which is, you know, normally, you know, you're responsible for making sure all the dailies are organized and sunk up and, you know, and and and put in bins for the editor and you do some you do some sound work for the editor, things like that. Um, I was, I was doing a lot more editing as well. A lot of stuff inside the stage coach is stuff that I did. But basically, you know, maybe changed a little bit, but not not a lot. It's being on location for edding job considered unusual? No, not at all. Uh, I mean maybe now, more especially now during covid where we're all just working from home and everyone's realized that we don't really have to be on location anymore. But back, you know, before we had the ability to do even what you and I are doing right now, which is talking to each other. Basically what is kind of a zoom call Um. That didn't really exist a few years. You know, I don't know so, and certainly we didn't have the bandwidth to be to be Um, for me to be editing at home and for it to be able to broadcast that live, to in it. You know, a director and work with them. So back in my early career, many of the movies I worked on I had good fortune, um before meeting my wife, of a beat going on locations in London and Brazil and Italy and France and in Canada and different parts of the United States. Every movie I worked on shot in different places and they want and they were an the editors, and then we would bring all of our film equipment with us and Um, you know, before we even have avids and you know, the director wants to be able to come in and, you know watch, you know, watch the dailies together, work on a cut over the weekend, just be able to just have close access to the editor. You know, in those days it was if if the editor wasn't nearby, you just you know, the editor. The director really had no idea what's going on. I wasn't like, Oh, let's just shoot him a quick time or something. You know, we did that didn't exist. So Um, yeah, and and still like if you work on a marvel movie now, like they bring everybody to Atlanta. She couldn't piece. They want the close school there. Um, just so that the team is together. And we you know, one of the best things about being together is is sitting down and, and this is also a lost art, but in the back of it, depending on the filmmaker. But back in the old days, Um, we would sit down and watch dailies. Every single day there would be a screening of dailies, either lunchtime or after, after or wrap.

You sit down, you reject the film or whether it's on a video or film, and and with the director and you take notes and talk about the shots and it's like, Oh, I like this, you know, is what I intended this for. I wanted whatever and, Um, I like this performance. That's that's very much gone away. Now there's no time for that anymore. Everyone's rushing, rushing, rushing, plus with shooting on shooting digitally. Now, you know, we typically like working on the Mandalorian. We'll get it. We'll have a day where we get six hours of dailies and Um, that was I've heard of in the film days. They just couldn't shoot. They never ever shot that much. Um, you know, typically most movies were single camera. Occasionally, if there was a you know, an action scene or uh, just certain types of scenes, you might have a you know, a m B camera and that would double the amount of dailies you had. But, you know, getting an hour or dailies was pretty norm so now it's just impossible. It's just too much to watch. Um, Um, but, yes, but, and then also just going back to the associate editor thing. The other thing about the Quentin Tarantino movies and as also on Chris Milan movies, you know he shoots some film. In this particular case we were shooting on sixty five millimeter film and Um carrying the film in the editing room. So normally, when when they would shoot a sixty seventy millionaire movie, the labs would give a reduction print. Basically they would take the seventy millimeter and give the editing room a thirty five millimeter print to edit with because it was manageable, and then they would, you know, or just go back to the original seventy millimeter negative at the end to finish it. In this case, Quentin wanted the editing room, he wanted US editing with the sixty five millimeter films. So while we were editing on the Abbot, as a scene got finished or close to finished, we would screen every single week. We would Um, Quentin wanted to walk much the cut scene on in a movie theater. So we would rent out the director's guild of America, which was nearby, in the afternoons when it wasn't really being used, and we would go there with like a ten minute scene and just sit and watch it on film and to see how it played on the big screen. And he didn't want to do that on tht five. So we have a a film crew working next to us and as a film, as a scene is finished, I would put together a list, a cut list for them which which has key numbers or edge numbers that matched the side of the negative and order the print, I'm sorry, and they would assemble it. And they had to get this equipment built, basically because nobody's ever edited actually on six five. They've used it in for negative cutting, but never for um actual editing. So Um it was a it was a learning curve for all the all the film crew involved, and that's you know what people who can work on film is also a lost art. There's very few young people who could do it anymore and most of the people still doing it are people my age were older, who are also just sort of Um going away or don't want to do it anymore. It's very strenuous work and so there's very few people left in town who actually are very good at that, and so those guys tend to get all the same jobs. They work on all the count in Tarantino movies, they work in all the Chris Nolan movies and that same film through missploring. We talked with John Lee, WHO's an assistant editor on a lot of Nolan's movies, and he said that for tenants they were doing, I'm Max Daly's, and that they had to get those built in all the seven countries they were shooting it or whatever, and he was like that was pretty insane. Yeah, that was use yeah, that's what we were doing and a abod actually built us. Abd Built us a special patch, special version of avid just to be able to carry those numbers because it there's, you know, there's edge numbers on the edge of thirty five millimn or film, the negative that that Abbot contract. But we can't. We could never track sixty five. No one or not.

It's different frame right and everything. So they built us a special version of the picks. They're all the movies. Never easy. What an interview and it's not even done. Yeah, no, but this is only the halfway point. What a natural stopping point. Let me just compliment you on that. I think that, Um, as of right now, I've edited this first half of the interview, Um, and I think instead of our normal film projector sounds, I'm going to put some some hateful eight score in there. WHOA, that sounds awesome. Yeah, just because it's like Anio more cone, you know, just kind of awesome. No, no, yeah, yeah, Um, that does sound awesome, like. I know that the listeners will have listened to it or ready, because that must have happened earlier in the episode. But I'm sure it was awesome. But I haven't heard yet because it's happened twice. Now for the introducing the interview and closing it out. Um, well, this is riven ng Um. But should we close out the episode? I think it's time. My my batteries at Oh, well left. We would really be cutting it close to carry. Well, it goes it goes down quickly. This this started at and it's only been like twenty minutes GE williker's part. My battery percent is dropping like flies. It's actually it's dropping like people were while playing sardines at my party and Sophia Alexis and Sarah Broughtman didn't even find us. They just like called it. They said that the game was over. I think they officially weren't having fun anymore and that it was more scary than fun. Yeah, and then, and then, when I hid, you found me, but then you were so exhilarated that you just yelled. And then the game. You hit in a you hit in a very good spot, and by that point everybody was done with the game, like nobody was really having fun anymore. M Yeah, yeah, but like the first round was nothing short of exhilarating. Yeah, and so is this interview. You know. But guys, if you like this first half of the interview, it's not even comparable to the second half. Yeah, we were just getting cozy in the first forty minutes so we could really kick things off in part two. Yeah, but, Um, we were just getting come bodies and Andrew Eisen's body, everyone's body was getting comfortable. Well, you wait for part two, though. You know what you could do? You could give us like a good review on spotify or apple podcasts, and you can give us a good rating on spotify. Review and a good review, apple podcast or wherever you get your podcasts. If you're a Weirdo and you do something besides those two, well, some international countries have to Um. But yeah, you can do that. You can follow us on instagram or twitter. Let us know. What episode do you want us to do? We've got some good stuff cooking. Don't because we've got we've got part two of this, we've got our discussion, we've got jaws the miniseries, and then maybe we have two other miniseries planned. Maybe, maybe not. Maybe, I'm not fully sure what you're referring to, but maybe I can just keep being ominous and they'll think that I'm just being discreet. Maybe. Um. Okay, this is the end of the episode. Goodbye, bye, guys.

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