Issue link: http://digital.copcomm.com/i/1339678
57 W I N T E R Q 4 I S S U E C O V E R S T O R Y ing his entire life. Ron and I discussed how to make these emotional transitions feel seamless. We did a lot of visual effects work on the shot of the town's steel factory. Our production designer, Molly Hughes, went to Pittsburgh and researched old blast furnaces. I told Ron I remembered growing up in Pittsburgh and knew how the smokestacks affected the air quality and exactly how much smoke in the sky would feel authentic. And when it was an abandoned relic, we added birds flying out as another layer of reality. What was it like to cut the amazing p e r f o r m a n c e s o f A m y A d a m s a n d Glenn Close? Amy Adams (Bev) and Glenn Close (Mamaw) are both incredibly dedicated and deeply intuitive actors who are amongst the smartest actors I've ever cut. They definitely put vanity aside in playing two strong-willed, hard-driving, funny women that are unapologetically flawed. They're both great at improvisa- tion and completely understand where they're at emotionally at all times in any given scene. Bev's suicidal breakdown after her dad's death brought me to tears cutting that scene, as does Mamaw's begging for extra food from the Meals on Wheels guy gets me every time. When J.D. Vance saw Glenn Close playing Mamaw, I think he felt like his g ra n d m o t h e r w a s re - i n c a r n a te d , i t was a very emotional encounter. Amy's emotional peek and rhythm is at such a high point, where you cannot easily go across takes, in most instances you have to pick a base take and really ride it through. In the motel scene when J.D. busts in as she's trying to shoot up heroin, she spirals out of control, yet it was important to make sure the audience has empathy for her and understands the pain she's carrying around. After friends and family screenings, Ron would ask the audience, "Should we cut her down? Is she too much?" And everybody almost unanimously understood it was a tough emotional watch, but it felt authentic. How did you insert moments of com- edy into this dramatic story? I like finding those moments of lev- ity because "Hillbilly Elegy" gets really heavy at times and you need laughter to counterbalance the weight of the movie. Two of a Kind: Howard (left) with producing partner Brian Grazer. P H O T O : N E T F L I X