And then once we get through that process – which takes many, many weeks – then we sit back and look at the whole movie and say “wow okay, now we have an overall pacing issue.” These individual scenes work by themselves, but now let’s look at the big picture and fix that. And then normally wideshots. Save Image. Release Dates Technical Specs, See agents for this cast & crew on IMDbPro, hair & makeup trainee: crowd (as Rachel Gordan) / makeup trainee: crowd (as Rachel Gordan), hair stylist & makeup artist (as Lois Macintosh) / makeup artist (as Lois Macintosh), makeup coordinator: Colombia (as Juanita Santa Maria Velez), assistant makeup artist: Colombia (as Laura Villegas Sernaitis), crowd make-up and hair artist: dailies (uncredited), hair stylist assistant: dailies (uncredited), special makeup effects artist (uncredited), art deparment coordinator (as Julie Lillis), sound post facility project manager (as Gabriela Celi), sound recordist: Second unit, Northern Ireland, re-recording mixer / supervising sound editor, assistant re-recording mixer (uncredited) / sound editor (uncredited), special effects floor supervisor: second unit, visual effects producer: Brainstorm Digital, senior systems engineer: Brainstorm Digital, compositing supervisor: Brainstorm Digital, stunt double: Robert Patinson/'Costin' / stunts, second assistant camera: "a" camera, Columbia, aerial stabilised head technician & first assistant camera, first assistant camera: "b" camera, Columbia, second assistant camera: "a" camera, Northern Ireland, third assistant camera: "a" camera, Columbia, second assistant camera: Aerial and Visual Effects Unit, second assistant camera: "b" camera, Northern Ireland, camera operator: second unit, Northern Ireland, first assistant camera: "b" camera, Northern Ireland, rigging/set electrician (as Miquel Angel Gelabert), third assistant camera: "b" camera, Columbia, second assistant camera: "b" camera, Columbia, second assistant camera: "c" camera dailies, costume buyer: Bolivia / costume supervisor: Colombia, stand-in: Robert Pattinson / utility stand-in: Belfast, stand-in: Belfast: Charlie Hunnam/'Percy', assistant: M. Huffam and A. Elliott (as Rachel Logan-Fee), completion guarantor: Film Finances, Inc. (as Paula Manzanedo-Schmit), production executive: completion guarantor, production assistant: London Unit: dailies, production staff: office production assistant, stand in: Sienna Miller / trainee assistant director, special thanks (as George 'Cosmo' Katagas), special thanks (as Paula Manzanedo-Schmit). So when we were in the jungle we used her voice to read some poetry. Working with James, we’ll edit on the scene for weeks and weeks and change it every which way. But I’d say the general consensus among editors is that you don’t purposely remove dialogue or scenes in an assembly just because you don’t think they’ll make the final cut. But that helps his process and he’s seeing how things go together. The Lost City of Z (2016) cast and crew credits, including actors, actresses, directors, writers and more. HULLFISH: Great point. Axelrad: Thanks so much, Steve. Menu. The images from the church of the baptism were from a deleted scene that was to open the movie. There’s one scene where an actor goes from being this stern person that keeps all his emotions inside and ends up getting up and yelling at another character. Or did you come up with a mutually agreed bin layout and organization? Then all the two-shots together. That was two years ago? And I don’t know how he did that. This is the editor’s cut.” But it really is an assembly because your responsibility is to put things together, which you have to do quickly. But in an assembly you can’t, right? So it’s not really the “editor’s cut” because if it was the editor’s cut, you would have cut those scenes out and you would’ve cut those lines out. HAUGEN: That’s the way I learned to organize the bins from John back on Two Lovers. HAUGEN: It was my first time working in the two editor system as well. AXELRAD: That’s what I mean when I say in terms of beats, and it depends if it’s an action sequence. We would just call back and forth to each other, like “Hey can I get reel 1? In The Lost City of Z it was a lot of jungle, and we tried to change it up to help with change of location. Thanks to Moviola’s Todd Peterson and Evan O’Connor for transcribing this interview. Movies. I know it’s a sensitive union issue because a lot of music editors get upset: why is a picture editor doing music editing? Or sometimes it’s a little off and you might adjust the picture edit to the music, because there is a rhythm to editing. Two Lovers was such an eye opening experience of how to make a film. So I’m assuming you’re cutting in AVID. Every director is different, but James is very much, “Okay, let’s start with scene one, and perfect scene one before we go on to scene two.” So, I learned very quickly, having done three films previous with James, you can put all this sweat and blood and tears into the assembly and it doesn’t matter. Is it all production tracks? I’ll give him a scene that I did and let him play with it and come up with something else. I like to watch the dailies first, mark everything up, mark the takes within the takes, and mark moments and things that I like. I changed things I as I grew, but I think we worked out a good solution. Yorgos edited the Oscar Best Picture... Today we’re talking with Kristan Sprague. which kept her character alive. After viewing we realized we needed to keep Nina, Percy’s wife, more present. For us we can’t rest until the pacing of the entire film is working, and that’s when the tough choices come about: what to cut? We stuck with the internal performance. I talk to editors all the time about organization. Trying to get to the jungle in an efficient amount of time, because that is where the film really takes off. John has been so gracious to allow creative contributions from all positions. AXELRAD: Well it was kind of a natural process to have the two of us cutting. HAUGEN: I think it’s very important to watch the editor’s assembly because it does lay out the blueprint. Skrip film iki ditulis dening James Gray adhedhasar David Grann's The Lost City of Z. Bintang film Charlie Hunnam, Robert Pattinson, Sienna Miller lan Tom Holland. And I like being able to access all eight tracks of the poly WAV file. And then he’ll say “you know, let’s look at the assembly for that scene again,” which basically has everything in it and the kitchen sink. But it also depends on the genre. The main characters are in a band and they had four original songs. Lee would be editing certain scenes and I would be editing certain scenes. Filmmakers go-to destination for pre-production, production & post production equipment! These are people he hadn’t worked with before and they’re all established and I’m sure they have different methods. Download Free Indiana Jones: Raiders of the Lost Ark 1981 filmyzilla Hollywood Hindi Dubbed Mp4 HD Full Movies. I always joke that I’m a frustrated music and sound editor working as a picture editor. Then we cut into the reel the version of the scene that we feel is best. And my favorite part of the process personally is working with the director and trying out ideas: trying to look at the entire structure of the movie; making sure that character arcs are working; that the film itself is well paced; that the characters are alive and vibrant. He was the first person to have given me an opportunity in feature films in 2008 on James Gray’s Two Lovers. Before we attack something, we get a series of notes from the director and we do a little pow-wow. Because I look at a scene and I’m think, “This scene’s never gonna make it into the movie, so I might as well just cut it out.” or “These three lines that start this scene are never going to make it, so let’s just start here”. Do you have naming conventions that you’re using? Their mouths are still moving, yet you don’t notice it because you are emotionally invested in the scene. AXELRAD: Exactly. The Lost City Of Z 2016 Hindi Org English Dual Audio Bluray 480p 720p 1080p Hd Katmoviehd. A true-life drama in the 1920s, centering on British explorer Col. Percy Fawcett, who discovered evidence of a previously unknown, advanced civilization in the Amazon and disappeared whilst searching for it. So each scene, with James, has its own internal pacing that works. HELP! High resolution official theatrical movie poster (#1 of 5) for The Lost City of Z (2017). AXELRAD: It’s also helpful to reference back to the assembly. HAUGEN: This is an epic film, and starting with a four hour assembly, it was very challenging to get it down to the run time that it is, which I think is 2:20 with credits. And when we sat back and watched it, we didn’t think it flowed with his story. So his approach is to look at the whole structure. With Charlie Hunnam, Robert Pattinson, Sienna Miller, Tom Holland. How long did you guys go from there? I adapted that into my own workflow as an editor after that. HULLFISH: Do you both organize your bins differently so you had to use different bins? Then as we start to build the show, we add music. You have to do it by the script. HULLFISH: That’s an interesting point: you take some stuff out and it seems to work for a while, and then you decide, “I think we need that scene back.”. Haugen: It was great speaking with you, Steve. HAUGEN: James is great at getting different levels of performance from the actors which is a blessing for editors. AXELRAD: I can remember over the course of the films I’ve cut, and even what we’re editing right now, we’ve taken scenes out, deciding, “We don’t need this, we can tell the story more efficiently doing it this way.” And then we screen it for people and things bump for them. Directed by James Gray. I imagine it would be different for me if I joined a show – like I know Tom Cross was editing on Joy with multiple editors. Watching the full assembly of that scene again may make a few lightbulbs go off to how to approach it differently. Can you describe why that might have happened? You could imagine that scene with dialogue being a far different scene emotionally than without. Lee can attest that I’m very fussy with dialogue editing. Editor Lee Haugen started as an apprentice under Axelrad and then cut several films including Repentance, Dope, and Miss Stevens before joining Axelrad again to cut Amazon Studios’ new theatrical release, The Lost City of Z. HULLFISH: Tell me a little bit about working on a movie with two editors. In the Lost City of Z, Fawcett’s doomed excursion into the Third World become depresses but doesn’t inspire -- the ultimate effect of Western guilt. He’s edited dozens of features including Slither, We Own the Night, Two Lovers, Crazy Heart, Something Borrowed, Miles Ahead, and Krampus. | It’s different for a scene with dialogue, which may have less “beats,” but I think the method you’re suggesting of how you organize is the same. I mean it was a good assembly, the problem is that it was 4 hours long. And I even know a lot of people that are editing in 5.1 out of the Avid, which it’s very capable of doing. For something like “Crazy Heart” and “Rudderless,” I often let the music guide the edit. I know some people that use a digital interface to do that, I think Tom has a digital interface to do that. I do them visually, not necessarily in the order that they were shot; but in the order of if I’m “looking for a specific visual where can I find it the easiest?”. Sometimes I have found the structure of the music perfectly fits the edit that you did. We want to make sure that it is working and that it is functioning without the help of music. Lost City of Z 2017 Movie All Rights Reserved. AXELRAD: So it wasn’t that Lee just fell off a truck. He’s striving to get back to the jungle – to get back to what he’s really deep down inside looking for. I’ll go through and mark everything up and maybe break the action scene down into beats, and just cut together the beats that I think are the best moments. He is a member of the Visual Effects Society. HAUGEN: It’s true even if one dialogue scene is ten minutes long, which we had a couple of those, and I thought, “Wow, that’s a long scene.” But there’s really great moments in it and you can just tell it’s going to be really great once we tighten it up. There’s all the organization of doing versions which is compounded when you have two editors. And you know the first step is making sure the dialogue is smooth. HULLFISH: I just talked to somebody who was doing that. It was such a liberating experience for me to be co-editing with somebody. I know in The Lost City of Z, the jungle is a large portion of the film. And so we try to do that a lot to help streamline things, to help change the flow of the story where we feel that there’s a problem. Movie Name :- The Lost City of Z (2017) Hindi Dubbed Quality :- BluRay Genres :- Biography, Drama, History Starcast :- Charlie Hunnam, Robert Pattinson, Sienna Miller, Tom Holland Movie Story :- A true-life drama, centering on British explorer Major Percival Fawcett, who disappeared whilst searching for a mysterious city in the Amazon in the 1920s. And so we did swap out some scenes to make sure his obsession came through. So we constantly are watching the whole movie. AXELRAD: It depends on the scene. So I’ll say, “Okay, these are all the selects from this character” and they’d be – for example – in the order of a fight scene. HULLFISH: Talk to me a little bit about sound design on Lost City. The founder and Editor-in-Chief, Vincent Frei, is working in the VFX Industry for almost 20 years all around the world. Even though, narrative-wise, it drags a little bit, it’s essential for understanding the characters and their relationships with each other. AXELRAD: I confess that I made him conform to how I like to do it. Once your account is created, you'll be logged-in to this account. Then we say, “Okay well maybe what we thought would be a better way to tell the story is causing some character interpretation problems.” Even though it’s narratively efficient, character-wise it’s confusing. In the case of The Lost City of Z, they shot on 35mm film and there was a lot of film damage from the humidity and the jungle heat and things like that. Good luck on your film. That way we can help tell the story as best we can. Give you a different feel from scene to scene as they were traveling throughout the jungle. And in the case of The Lost City of Z, there are a couple of instances where we can say much more by saying less. Our paths just didn’t line up after that. AXELRAD: We first started by cutting out every other frame to get it down to two hours. How are you monitoring that? It allowed us to really explore the film from different points of view and to really enhance the creative process of putting the film together, because when you’re cutting with someone and you’re bouncing ideas off each other, I think it is to the benefit of the movie. So we undo something that we thought we were very clever to do, and we restored a scene that we cut out. Lee was also a former assistant of mine, and I saw an opportunity when Kayla was unable to work with us on The Lost City of Z. Lee actually started the film first, because I was finishing up Krampus, so I couldn’t start on the dailies right away. Among the directors I’ve worked with, I’d say maybe a third of them say absolutely no temp music at the start, because they really want to see if a scene is true to itself and not being masked by music. They usually don’t hire the sound supervisor until later in the process – usually in the middle the director’s cut. Art of the Cut: Conversations with Film and TV editors. So if I need to edit a scene right away I’ll just dive in, but ideally I could be working on something while they’re ScriptSyncing a scene. Are you using a Nexis, or how are you collaborating? During the editing process, we wanted the aftermath of Percy stopping the arrow with his book to be more spiritual, so we cannibalized footage from this other scene. With James Gray it’s the opposite. HAUGEN: To have the whole crew, except for Tom… Tom was busy. Save Image. That way, I don’t waste too much time fighting with myself during dailies. Would you like to change the currency to Pounds (£)? So if I know that there’s a big jib shot or something that begins a scene, the director probably wants that to be the first thing. And it became Charlie Hunnam and Robert Pattinson for a long period of time in that four hour cut. Therefore when I’m editing, I instinctually say, “Okay, now I feel like I need to go to this other character” and then I have all the selects for that part of the scene in a separate sequence. We’re expected to do a preliminary sound design, but we don’t have time to mix 5.1. A lot of the time I will set that scene aside and revisit it the next day, because I do like to walk away, especially if I’m frustrated with a scene or it’s just not fitting together easily. It was the best learning experience I could ever have and it was fun to be reunited again eight years later. With an action sequence I would say “why not edit with music?” When you’re doing a big drama scene, I always say dialogue first– dialogue should be pacing it. 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