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January/February 2020

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Page 25 of 43 24 POST JAN/FEB 2020 How does a Star Wars film evolve in editorial, knowing that completed visual effects will be coming in down the road? "I cut the scenes together using the performances. And if it's a performance on green screen, I kind of imagine I know what the background is going to be, or I make up what the background is going to be. And then I check in with JJ and the visual effects supervisor. And, I've got a script in front of me. So I know what's what. "Sometimes I'll put in title cards and say, 'This is a wide shot of the (Millennium) Falcon arriving on a planet.' And sometimes I have previsualization, which I use. But I've learned over the years to use it as a guide but not [to be] set in stone. You're not set in stone because, obviously it transforms into what you want it to be. "I'll sit down with the director and we'll talk about how it's going to go together. So with Star Wars, or Venom, I've got a visual performance to use, and that helps dictate what ultimately the visual effects are going to be. And then, of course, I make adjust- ments down the line, but in my head, I'm still telling that story. I try to put it all together so JJ and the writer and producers can see what they have and what they might need or want down the road." Does your cut influence the VFX or vice versa? "Yeah, and vise versa. I'll talk to Roger Guyett at visual effects and say, 'What's your intention here?' Or, like in the speeder chase, I said to JJ, 'I want to know what's going on here?' A lot of times in the script, it just says, 'They take off and drive.' "JJ gave me a set of storyboards that he had put together, so I knew what his intention was. I don't want it to feel like my cut is influencing. It goes both ways. I feel like they influence me — I influence them. And together we get to it. And sometimes what I do is completely wrong, and I have to backtrack it and rethink it…It's a very cre- The feature was shot on film in London. Company 3 handled the dailies.

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