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Q4 2021

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P icture editor Pamela Martin, ACE, has worked on all manner of movies. For a spell in the 1990s and into the 2000s, Martin was known for cutting dark comedies, including "The House of Yes" (1997), "Slums of Beverly Hills" ( 1 9 9 8 ), a n d " L i t t l e M i s s S u n s h i n e" (2006). More recently, she has edited a series of films based on real-life figures, including "Hitchcock" (2012), "Free State of Jones" (2016), and "Seberg" (2019). And through it all, she has toiled in one of the trickiest genres in cinema: the sports movie. Martin was Oscar-nominated for her work on David O. Russell's true-life boxing drama "The Fighter" (2010), starring Mark Wahlberg as boxer Mickey Ward, and, wanting to work again with "Little Miss Sunshine" directors Jonathan Dayton and Valerie Faris, she edited the filmmakers' ripped-from-the -headlines tennis tale "Battle of the Sexes" (2017), starring Emma Stone as Billie Jean King and Steve Carell as Bobby Riggs. Following those rewarding but challeng- ing experiences, Martin wasn't necessarily looking for another sports movie. "Cutting any kind of sport is hard — re- ally hard," Martin said. "You have usually a lot of camera angles, a lot of material that's unusable. You're trying to find the right choreographed pieces, or non- choreo - graphed pieces, to make it look real. That's always a painstaking process." Then the script for "King Richard" landed on her desk. Written by Zach Baylin, the Warner Bros. Pictures release stars Will Smith as Richard Williams, the intrepid father of tennis superstars Venus Williams By Peter Tonguette Photography Martin Cohen 31 W I N T E R Q 4 I S S U E F E A T U R E Advantage Martin HOW PAM MARTIN FOUND THE RIGHT SHOTS IN THE TENNIS BIOPIC 'KING RICHARD' Pamela Martin (left).

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