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Q3 2018

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45 Q3 2018 / CINEMONTAGE by Michael Goldman • portraits by Martin Cohen D espite being buried under various deadlines while cutting The Orville, Seth MacFarlane's sci-fi dramedy series that has its second season premiere in December on Fox, the show's core editorial team still found time recently to convey the zeitgeist of what they consider to be an exceptionally collaborative editing room. The show tells the sometimes serious and sometimes wacky story of a crew of misfits on a futuristic starship commanded by Captain Ed Mercer, played by MacFarlane. Virtually everything (12 first-season episodes and now 15 episodes for Season 2) is made on the 20th Century Fox Studios lot in Los Angeles, including all work by the editorial group and most other post-production- related functions. And that, the editors suggest, is among the great joys of working on The Orville, even though the show, which has increased in episodes, has moved from three regular picture editors last season to two this year: industry veterans Tom Costantino, ACE, and Scott Powell, ACE. They feel this way even though The Orville is "an ambitious show for any network," according to Costantino, and one that featured some 4,000 visual effects shots during its first season, a number likely to increase this year. As many as 7,000 to 8,000 effects shots are estimated for the current season, according to the editorial team. It's also a show strategically designed to pay homage to the Star Trek franchise, particularly Star Trek: The Next Generation (1987-1994), and walks a delicate creative line by balancing MacFarlane's satirical look at the Star Trek phenomenon with deeper dramatic themes. From the point of view of the editors, all of this makes The Orville a show that could only succeed editorially "by emphasizing collaboration and teamwork" The Orville. Fox The Orville. Fox

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