Issue link: https://digital.copcomm.com/i/1436481
shots in the film, so at the end of the day, that becomes a big volume of work and you have to bring in a lot of crew that you need to supervise. So those things are challenges, on top of the simple editorial stuff, whereas I've worked on plenty of other films, where you have a different scale of support — where your responsibilities are more focused. You'll have a visual effects department that's solely responsible for delivering the shots, and my role is more just creative in the whole situation." What kind of feedback is Wes Anderson giving you during your edit sessions? "Often, it's discussions about timing or line readings, or different questions or manipulations of clarifying something, without explaining. It was always kind of weird in this movie, because it's a lot of side glances, and not particularly straight-on information and exposition. There's just a lot of detail being thrown at you. So clarity was a relative term, I think, on this film. We weren't telling a simple, plot-laden story. It was more just keeping the details interesting. Then, we just get thoughtful about different ideas. Even though there's been a lot of planning, there's often a lot of experimenting that happens too, structurally, with intentions or new jokes or new ideas that might find their way into the material. It's not overly precious about the intentions because so much about it is there anyway. I think the first move — his conception of how something is supposed to work — is pretty well defined at the outset. So the idea is to get that working first. And once you achieve that is when the floor is kind of open for more ideas." What's next for you? Are you on to your next project? "So, after I worked on French Dispatch, then I went to work on Tick, Tick…Boom for Lin-Manuel Miranda, and then there was, you know, a pandemic that hap- pened, so that shut down for a while. After that, I worked on The Eyes of Tammy Faye in the interim, and then when that was done, I went back to Tick, Tick…Boom. Now, I'm on a film for Darren Aronofsky called The Whale." Another director you've worked with in the past! "Correct. I've been gratefully busy over the past two years." EDITING www.postmagazine.com 15 POST NOV/DEC 2021 Company 3 provided dailies services for the film. Weisblum cut on an Avid at DNx115 resolution.