The editor

Hi there. I'm Dean Fleischer Camp, writer, director, editor of the film with the people sitting beside me. Hi, I'm Jenny Slate. I play Marcel the Shell, and I'm also a writer on this movie. And I guess I'm a producer too, huh? Oh, yeah. Yeah. Yeah, you are. I was in there. Oh, there's my beautiful little girl. Oh, that's gorgeous. Thank you.

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And my name's Nick Paley. I'm a writer on the film and also an editor. And here's our beautiful sunbeam. It's so nice. It is really nice. I love it. This is the first shot of the film. We're supposed to say it at each shot? This is shot number one. Shot number one. Shot number two is coming up next. All right.

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aesthetic of it where because it gives you a freedom to detach the image from what you're hearing yes yeah and then and then you can kind of be more dreamlike and you know uh looser or something yeah yeah it was a editor's paradise but also nightmare because there was so much control i think i'm gonna cry

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I am writer, producer, director Christopher McQuarrie. Hi, my name is Eddie Hamilton. I'm the film editor on Mission Impossible Dead Reckoning Part 1. The extraordinary editor on Mission Impossible Dead Reckoning Part 1. Chris hates it. Chris knows that I'm very embarrassed when he says things like that. Eddie doesn't like compliments. Yeah, exactly. That's not the reason why I do it, but it's the reason why I enjoy doing it. Yeah. This sequence...

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of the subway and takes us all the way through to Venice. It's one of the places where people might feel that they can take a break. That's right. But the way that you developed the music cue with Lorne and Cecile Tornesac, our music editor, meant that we just keep our foot on the gas here so that you...

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Yes. And it stayed on the movie for two years. Yes. Longer even. And then right at the end, the Paramount Music Department helped us find around 200 different dance tracks. Yes. And Cecile Tornesac, our music editor, worked with Chris to identify three and then spent a couple of days cutting all these tracks with stems so that every piece, every transition and every character...

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Nia DaCosta

Be back soon. So in the movie, I really want to have moments where you see Jimmy Crystal looking like he idiot that he is, because that's how I feel about these kinds of leaders, like... Usually, like, with a cult leader or, you know, or a garbage, like, president or prime minister, whatever, the way that they get people to follow them isn't necessarily that they're intelligent in any way, shape or form. It's, like, the charisma, but also it's power. And I think... when you look at those people outside of that context, you also see how silly they are. And so there are moments in the movie where, even though he has a lot of power over these kids, I also wanted to show that he's a silly, ridiculous human being as well. So there are moments in here where you see a bit of that slip, and, also, he's funny, so you can laugh at him and with him a bit. So that was really important to me. But this is even more important. This... This, we did in the edit, which is having this moment where Samson's brain is rearranging. I mean, I think what Alex wrote was, like, "Samson's brain is rearranging," and we were like, "Okay, what's that gonna be?" And Jake Roberts, who's my amazing editor, and I, found this way of... showing that. And I love this scene. This was something that we... I did this in one way initially and during the shoot, which again made... Jack, as Jimmy Crystal, look a bit silly and ridiculous. However, my producer, Peter Rice, he was like, "I really feel like we should... "we need to see him in the temple, actually." And I was like, "You're absolutely right." So, we shot this, which I really love.

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Nia DaCosta

You must stand. His little smile here. Just amazing performances in this film, and this scene in particular, I just find so... wonderful. Loved shooting it. And also my editor, because we only had Alfie for three hours a night we had to shoot, like, really out of order. SO, like, I think, on the second day we were shooting this, my editor emailed me, and he was like, "Bro, where is the coverage of the scene?" I was like, "What do you mean?" He's like, "We don't have this or this..." And it was really great because he was just like... I was like, "That's because we don't have Alfie. "So we had to wait for Alfie." But also, it was really helpful just to, like, keep us all on the same page and get a good road map for making sure we get everything we need 'cause it's a complicated scene. It's a long scene, and a lot has to happen. And, you know, when you have one of your actors who can't be there the whole time, you know, it just makes it trickier. So, having a shot list, first of all, helps, but also having an editor who is so on top of it and who is so brilliant. Also, any director will say, "This helps bring everything together."

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Nia DaCosta

You have a bit of a score coming in here. Hildur Guénadottir and her music editor, Jason Ruder, who's amazing, just knocked it out of the park, I think, with this score. It's weird. It's different. But then also when the theme, which will kick in again in a few minutes, it's like this mix of, like, brutal and disturbing, but also beautiful. And I just love what they did and what we got to with this.

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Hutch here. Last night, that was you, huh? And then here, we got a great phone call with RZA calling his brother from who knows where and... I think, originally, he was supposed to be on an island. That's what we had in one of the lines. But then we kind of thought, "Well, how does he get there from an island so quick?" So it was changed to a nondescript location. I always like how you step into the shadow when you take this call. Yeah. - Hopefully it's not too on the nose, but I kind of like that the family's light in the back, and then here you are in a little bit of darkness. And he mentions The Barber. - The Barber. And that was not what he said in the original script. No. This is where... So this is act two and act two was very, very different. And I don't know how much in detail we should go, 'cause there's a lot of them. But the idea is that now Hutch gets the call, gets the message to go see The Barber, he gets the phone message, a text message, he goes, and basically what we used to have Is... What we have now is a compact montage of a much bigger act two than we originally had shot and envisioned, which makes the film much, much better. And that was something that David Leitch set down with Evan Schiff, our second editor. I finished... This is right as Corona was hitting the US, and we all had to go home, and I flew home. And David spent time working with Evan over Zoom to put the sequence together. By the way, if you pay close attention to the clothes on Hutch's character, you'll see that it's very lucky that he's always wearing blue. And may I say the reason why you're wearing blue, Bob? Yeah. So, early in preproduction Bob said that, "Guys, I think we should get some blue stuff on me." I'm like, "Why?" He's like, "Well..." I think you said your mother saw you wearing blue... - In the Spielberg film The Post. She saw The Post, she liked it. And she goes, "Your eyes aren't that blue." And I go, "Actually, yes, they are. They pop blue more if I wear blue." You see the blue in my eyes if I wear blue. They're kind of a blue-green, I think. SO anyway... So your mother... We have to thank your mother for putting us in this direction because it saved us in the cut. She will not be seeing this movie. Really? - No. Can we do a cut-down version without... She's 84 and does not watch violent films at all. ...

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Well, he's gonna get into his car and then he decides, "Forget about that. "Remember that car that neighbor told me about that was so good? "Let's take that and do that." I love how his neighbors come out of their houses to see his house burning down. This was the first scene that I storyboarded because it's a music video and I thought I'd start with easier stuff. Right. - And... I just loved the idea of everybody seeing... And then Hutch, he doesn't give a shit, 'cause he steals the car in front of everybody, while everyone's seeing. Yeah. - One thing I do miss, though. lf I was a little bit smarter, I would have had Paul Essiembre, as Jim the neighbor, run out after screaming. That would've been a perfect ending to this drive off. Yeah. But I realized in the edit, great. My character's probably upstairs in his bedroom with a stripper, knocked out from two nights of drinking and partying. Wait. The nursing home? What's this? Yeah, remember he warned his dad that he was tangling with some big, bad guys and to watch out. And speaking of big bad guys, there's Ilya Naishuller, our director, right there on the right. My first Hollywood part.

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to stick with something or not stick with something because he knew the outcome was ultimately something he was going to have to work with in post. And the one thing I've always given Damien ample amounts of credit for is, you know, being a good editor, putting this stuff together, putting a good effect sequence together is really hard to do because you want to hold on it long enough that everybody

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has made Terrifier so successful for Damien is he really balances all of that. And he does it really well in editing. And I'm not taking away from his directing abilities or his makeup effects. He's obviously done really, really well in both those categories. I've just, you know, to be a really good editor is hard. But I always feel like the better editor you are, the better director and overall, you know, designer slash artist.

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My sword will save them. And my sword will save them was added, which I like and it was helpful because before he says, my vision shows me you have two and she cries and Louise Ford, the editor, joked that she's crying because she found out she had twins.

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I'm just going to shout out here to Fin as well, our editor, because this was, like you were talking about eye lines before, this was a very, very complicated sequence just to shoot, make sure that we were getting what we needed to get. And every day she would call, having looked at the previous day's rushes and say, hey, grab a shot of this.

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