EDITORS

BEHIND THE SUES Scissors and Stone

6 hey were dropping dead Film on which you've worked as T from pure fatigue," direc- Q&A with co-editors, you've both been part tor says of of Stone's editing teams on "Wall the editing staff on Street," "Talk Radio," "Born on "MK." "We were screen- the Fourth of July" and "The _ ing new cuts every three and , editors Doors." Do you like Stone's team days, working around the clock, approach to editing? amazingly fast" Hutshing: It's sort of necessary The amazing thing is that with Oliver's films. There is so Stone and his editors seem to of Oliver Stone's `JFK' much to do. It wouldn't be possi- like this way of working. ble for one person to do it all "Optimum editing: First cut the alone. tape, transfer to film. A room full Scalia: The volume of footage shot of flatbeds and lots of warm bod- for "JFK" (600,000 feet] on so ies," says Stone. many different formats — 16mm, "No other director works the was awarded the editing Oscar THR: Was it necessary to share Super 8, 35mm, Cinemascope, way I do — team editing," he for "Born on the Fourth of July." Oliver's perspective to do your 185, surveillance footage — and continues. "It allows us to explore Pietro Scalia, 31, followed job? 20 hours of stock footage, there the boundaries of a film. Besides, Hutshing's footsteps by working Scalia: You had to have some was just no way'one person could what is editing except exploring a as assistant and associate editor feeling that the story was right - handle it. Just getting the footage thought process." on many of the same Stone that there are conflicting facts in together so we could start editing For the editors, the payoff is films. "JFK" is their first co-edit- the case — to present the film's was a massive project. [ln addi- simple: The fast track. Stone ing project. case. The film doesn't say, tion to the two lead editors, Stone likes to promote his from assis- The Hollywood Reporter: Was "Believe me." It makes people hired an additional editor, Hank tants to associates to full editors. there an overall philosophy behind question what they already Corwin, an associate editor, Julie With the director's prolific out- the editing of "JFK" that was dif- believe. It took a lot of courage Monroe, a first assistant, a second put, that climb can be rapid. ferent from the other films? for Oliver to do it. assistant, two apprentices, an David Brenner, for one, had an Scalia: I knew this was going to Hutshing: I couldn't have worked intern, and an optical supervisor Oscar for best editing on "Born be different than anything else I on the film if I didn't believe it. with two assistants.] on the Fourth of July" when he had ever done because of the The fact that we wanted to help Teams are also the result of was 27 years old. amount of documentary footage Oliver raise these questions shorter postproduction schedules. Joe Hutshing, 37. had worked and the variety of visuals to play helped us make a better film. I On "JFK," we originally had 11 on "several films no one's ever with. So much work went into remember when Kennedy was months from the start of shooting heard of, and it's best that way," the art direction with elaborate shot. I was in the fourth grade. to release. Reasonable. But as we when he was drafted by Oliver sets: vintage cameras were used The sense of loss has always been got closer, Oliver decided that a Stone to be an assistant editor on to re-create footage so you could there. When we started this, 1 Christmas release would be better "Wall Street." When the crunch match original footage exactly. It wondered if the files could be for the film. More people would hit to complete the film by an was exciting. opened. Maybe we could do that. see it then. We debated until the advanced release date, he was People are accusing Oliver of Then I'd think, "Naw, it's just a last minute whether we could do promoted to associate editor and distorting history. I don't think that movie." Now it looks like that's it We, the editors, thought it was given the chance to cut scenes. is the case. We didn't manipulate what we've done. What greater right to release it early as well. "it was an endurance race, seven historical footage, but used it to outcome could there be? Even if There were four months of days a week, 24 hours a day." anchor the film in historical con- we open the files and find there is shooting, ending Aug. 1. We But the payoff was handsome text. By looking at it in a different nothing there, we are less a nation started cutting when shooting since more Stone films followed, way, we followed Oliver's vision of secrets. began and had the first rough cut Hutshing, along with Brenner, to create a different meaning. THR: Although this is the first by the end of August. It was long

S-10 THa HOLLYWOOD REPORTER 1591 CRAFT SERIES: EDITORS

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John F. Kennedy's assassination is re-created in "JFK- (left), as is the arrest of Lee Haney Oswald (below). Editors Joe Hutshing and Pietro Scalia fused actual footage with the new film for a startling, realistic depiction of both events. and we had to cut it down from form the film to our work. And there. The film was released at that took time, but it was a fabu- Christmas. lous tool to get the film started. THR: Were there further cuts We did our fine cuts on film. after previewing the film? Hutshing: It was different when Hutshing: Oliver doesn't preview we edited "The Doors." Then we his films, except maybe for a few used editDRO1D. George Lucas' friends, journalists and the studio system — a random access, laser executives. Nothing for the mar- disk, nonlinear, computer-based keting department. editing system that is lovely to THR: Explain how you used elec- work with. "Doors" was a very tronic editing with "JFK." surreal. liquid film. We needed a Hutshing: We needed to use lot of dissolves [and] that system video for "JFK" because we had could do that. We also had advan- so many formats and we had to tages in helping us mock up the get it all onto one format; to have multiple camera angles. But, for that be 35mm film would have "JFK" — a jagged, hard-edged cost billions of dollars. So, we film, very gritty — the simpler had it all transferred to three- system seemed more suited. exclusively if there was some When we viewed dailies, quarter-inch video and cut on a THR: What about the pitfalls to way to get to film automatically. Oliver would tell us what he very simple cuts-only system. It's using electronic editing? It lets you be a courageous editor. liked and we'd try to capture a very low-tech, Sony off-line Hutshing; The problem with these If you made as many cuts on film, those performances. He came in system — an kM 450 controller systems is just the labor-intensive you'd end up with a taped togeth- every day, looked at the cuts, with two three-quarter-inch decks work of conforming the film to er mess. made suggestions. Using video and two monitors. It was very match the video. Most systems spit THR: How involved was Stone in allowed us to do several cuts, or inexpensive and immediate. Out an edit decision list that shows the editing process? versions, of a scene and Oliver Scalia: It was a tool we used to first and last frames — assistants Hutshing: We were given a lot could choose exactly the version see how the structure would go. do the conforming. We didn't have of freedom on this picture, more he wanted; he had more of a The more passes we made on that for "JFK." So we did the fine than on any other of Oliver's multiple choice among his video, the more complicated it cutting on film to speed things up. pictures. We did not have time favorite takes. As we got further became for the assistants to con- I'd use electronic editing to do otherwise. into the process, and had less

THE HOLLYWOOD REPORTER 1992 CRAFT =1E9: EDITORS 5-11 EOITCIRs

time, we did fewer versions. what you see playing on the tele- Finally. just one. vision — and all that stuff had to THR: When did you first see the be assembled beforehand. script and get started on the The TV was an integral part of movie? the first half of the movie. This Hutshing: We saw it from the was the first TV president. The first draft on when we were still nation was glued to the TV. It working on "The Doors." Then was almost another character in three or four weeks before we the movie. It was a logistical started shooting, we began going nightmare with at least 20 play- through the stock footage, the backs. Usually, if there is play- miles and miles of tape, assem- back in a movie at all, there are bled by postproduction supervi- no more than one or two. sor Bill Brown. Not only was THR: Did you have a sense of the this art integral part of under- particularly critical role editing standing the movie, but we had a would play in making this film? lot of playbacks in the movie — Joe 1-ittl3hins and Pietro Scalia are nominated for Oscars for their work on 11:K." Hutshing: Yes. We knew this was an editor's picture from just read- ing the script; it was very excit- ntertainment Studies ing, fun. We were like kids in the candy store. We had the feeling UCLA that there were no rules for how EXTENSION to do this film. THR: It's noticeable that the dia- logue is repeated to you visually and then reinforced in other ways. Train with Professionals in Post-Production A very complex story is made understandable. Post-Production for Film Introduction to Videotape Scalia: An editor is a story teller. and Television Editing Because of the amount of infor- mation — it was a dense film - Leading practitioners define and illustrate Participants learn the basic theory of video- we discovered that using layers of their roles in the post-production process, tape editing, with extensive hands-on time on perception, accentuating pictures rom film processing through re-recording. the equipment. The instructor is Morris Brown, with sounds and then music and ['he instructor is Paul Nagger, Senior editor for news programs on CNN and NBC, aye Vice dialogue, helped people wade 'resident, Post-Production, Paramount music videos, documentaries, and films. through it. Editing is like sculp- 'ictures. Friday, Saturday, and Sunday, ture. les three-dimensional. vlunday, 7-10 pm, March 30-June 15 9 am-5 pm, April 10-12 THR: After "JFK" and the other lollywood: Paramount Studies Theater Westwood: UCLA Extension Building, Stone pictures, I'm sure you have 'ee: $325 Reg# T8I81 Room 423 your next job whenever you are 10995 Le Conte Avenue ready to take it, right? Scalia: I don't know if it's that Digital Audio Workstations Fee: $475 Reg# T81600 n Film and Television: Riding easy. i THR: Do you find yourself mar- the Technological Roller The Role of Editing: ried to Oliver? Coaster Shooting and Editing Hutshingt It's been great for me. Participants have the opportunity, through Dialogue Scenes Oliver is one of the best people to hands-on use, to evaluate the leading digital Students gain a firm theoretical grasp of the work for. If he ever decided to be audio workstations in order to select a unit principles and practices of shooting and edit- an editor, he would be one of the which best fulfills the needs of their own style ing dialogue scenes in film and video. greats. He has a fresh eye and and that of their clients. The instructor is The instructor is John Bragin, John Bragin & none of his material is sacred, Scott Martin Gershin, sound effects designer Associates, Visual Media Design & Production. even to himself. He's always will- and editor whose credits include the features ing to rip it up and try again. The JFK,• Hone y, 1 Shrunk the Kids,• and Glory. Friday, 7-10:15 pm, April 24; only sin you can commit is to be Saturday, 9 am-5 pm, May 2, 9, and 16 conventional. "Break through to Tuesday, 7:30-10:30 pm, UCLA: 5200 Math Sciences the core" is one of his favorite March 31-May 26 Fee: $275 Reg/13186G phrases. JCLA:13.105 Center for Health Sciences Scalia: Oliver is always focused on Fee: $375 Regi/113220G FILM/ making a better picture, which is wonderful. But, no, he is not the o enroll with VISA, Discover, or MasterCard call 010) 825-9971 or 181817E14-7006. only director we will work with. or more information call 010) 825-9064. — C. Brown

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