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28 CINEMONTAGE / NOV-DEC 14 combat for three years?" Shooting started September 2013 in England. Dorn had read the script and discussed the project with Ayer while finishing Sabotage earlier in the year. "With so many fantasy films out there, I leapt at the chance to work with David on Fury. It's based on a rich and well-researched reality; the story is an amalgamation of a number of historical events. He's obsessed with naturalism, authenticity and the intricate details of costumes, props and production design. David is a fanatic about getting it right," she says. The actors went through a military training and tank operations boot camp during rehearsals, according to the editor. "When you see Michael Pe a driving the tank, he actually is driving the tank," she points out. Several World War II-era Sherman tanks were used in production, along with the last fully operational German Tiger I tank. "David's approach in Fury reminds me of the paintings of Hieronymus Bosch," Dorn says. "His frames are extremely dense and detailed. Even while shooting singles, other cameras were simultaneously shooting the wide shot, sometimes from several angles — often with as many as six cameras at a time." Thus, Dorn found herself editing over 1.3 million feet of film — about 240 hours. "The amount of background and surrounding action affects the performances, and those performances reflect how deeply the actors are immersed in David's richly manifested reality," she continues. "Like a Bosch painting, you can go back and watch Fury over and over and always see new things in the frame." Though the picture was lensed in England, Dorn originally set up editing rooms in Los Angeles and had an additional Avid to work on from home. Two weeks into the shoot, working through the blitz of incoming material, she was editing at 1:30 am, when she got a call from one of the film's producers, John Lesher. It had been decided that the editing should be done on location. She left for London the next day. While additional editor Rob Bonz and the LA post-production crew held down the fort stateside, Dorn worked to put together editing facilities at the production's base camp in Shirburn, Oxfordshire, with her UK assistant editor Emma McCleave. McCleave had worked with Dorn before, on Australia (2008) and London Boulevard (2010). To serve their needs, the production provided them with a 40-by-8-foot metal shipping container and turned it into a location editing "suite." They were given a generator to supply heat and a satellite dish to connect to the LA editing room. Divided into two rooms, each with an Avid, the container also became the de facto screening room for the director, crew or guests of the production. Fury. Sony Pictures Entertainment