Issue link: http://digital.copcomm.com/i/914212
77 Q4 2017 / CINEMONTAGE character's development," she reveals. "I suggested taking out a scene that had been a bridge, and when we lost the bridge, it actually made things more clear." As for the actors, Lepselter singles out the performance of Winslet, who makes her first appearance in an Allen film, although was originally set to appear in the Scarlett Johansson role in Match Point. "We all know she's a wonderful actress, but she would give us so many choices," the editor enthuses. "I've worked with a lot of wonderful performers who might do a lot of different takes, and then you know it's the last one or it's the first one that we're going to use. But my challenge was that Kate gave us all these different choices and they were all great; they were just different directions to go in." Lepselter estimates that assemblies on Allen films usually come together within several weeks, with refinements taking an additional four to eight weeks. In the case of Wonder Wheel, the schedule was extended due to the inclusion of CGI — the first substantial use of such effects in a film by the director. After an almost-final cut was prepared, the visual effects house created Coney Island in the 1950s. "When the characters were outside and actually on the boardwalk, much of that was the real Coney Island boardwalk," the editor explains. "But when they were in their apartment, and you're looking out the window and seeing the view, that was all CGI. It was easier with the digital dailies than if we had shot on film." While Allen never takes his films out for previews, he does hold screenings to garner responses from what Lepselter calls "some very well-trusted people." She adds, "We only ever show it to a very small, select group of people." In putting together a soundtrack, the director still draws from his record collection — and, in a reflection of changing times, online sources. "We still do often go to his collection of vinyl," Lepselter says, but since this film was set in the 1950s — not Allen's favorite musical period, according to his editor — she was tasked with researching songs of the era. "I would pull things up from searching online and sample many, many, many different songs from the era until we found ones that worked," she says. "We would load any number of those into the Avid so that we could sample them against the picture." Lepselter has twice been nominated for ACE Eddie Awards in the category of Best Edited Feature Film — Comedy or Musical for Allen's films: Vicky Cristina Barcelona (2008) and Midnight in Paris (2011). But, like her director, the editor places little importance on such recognition. "I did think that there was more visible editing in those films," she says. "But frankly, working with Woody, who really puts no stock in awards, I have spent all these years not really paying attention to awards myself." Regarding Wonder Wheel, she feels that the film features "so many long masters, that it's not something I would ever imagine being nominated for an award for editing." Then again, you never know. After all, upon being hired to work on Sweet and Lowdown nearly 20 years ago, Lepselter did not necessarily expect the collaboration with Allen to last for more than that single film. "I had no idea that would happen," she reflects. "It wasn't apparent right away that it would become the next 20 years of my life." After so many movies together, the two enjoy a unique cutting room partnership. "I certainly have a real understanding of how he likes to work now," Lepselter concludes. "And there's a lot that doesn't even have to be spoken between us at this point." f Wonder Wheel. Amazon Studios