CineMontage

Q2 2021

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43 S U M M E R Q 2 I S S U E F E A T U R E at editing "The Queen's Gambit," for which she received an ACE Eddie nom- ination for Best Edited Limited Series or Motion Picture for Television. The series is Tesoro's latest collaboration with writer-director Frank, with whom she previously worked on the Netflix Western series "Godless." " M i c h e l l e's g i f t i s t h a t s h e's t h e increasingly rare younger editor that cuts for story and character as opposed to cutting for effects," Frank said in an email to CineMontage. "She's an integral part of my process now, even before I ever start shooting." (Frank co-created the series with Allan Scott.) Chess is a game for two, but join- ing Tesoro and Frank was a third key post-production player: Sound designer Wylie Stateman, MPSE. Also a veteran of "Godless," Stateman on that series instituted a workflow with the goal of breaking down barriers between picture editing and sound design by using a "roll- ing mix." He calls it "cutting room 2.0." "Our workflow with cutting room 2.0 is very simple," Stateman said. "It's ABC — 'always be cutting' — and ABM — 'always be mixing.'" In the normal course of making a film or series, editing decisions are made first, with final sound and music choices deferred until later in the process. "Usu- ally, I don't get to work with my sound designer until after I've locked picture," Tesoro said. "We've made all the picture YOUR MOVE: Michelle Tesoro and Wylie Stateman. P H O T O : C H R I S T O P H E R F R A G A P A N E

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