Issue link: https://digital.copcomm.com/i/832212
47 Q2 2017 / CINEMONTAGE going to be stylistic variations, but in terms of launching a series, we all had a similar starting point — which is basically tight, straightforward storytelling without being self- consciously stylized. Music is always used in a diegetic way, except for montages, which are scripted. CM: James Franco directed two episodes of this series, and Kate, you cut those episodes, right? KS: Yes. In our first meeting he asked me, "What should I be thinking about? What should I be doing in terms of style?" I explained the type of world-building that we had done in The Wire and Treme. I feel like the world that we're usually working with is based on straight cuts from scene to scene with simpler visual transitions. He appreciated that, so we were able to build some trust there. Because he's an experienced feature director, but not as much in the TV medium, it was really important for me to communicate that everything we talked about was going to stay in the editing room. It's pretty amazing to watch him work because he's not only acting, he's acting as twins. He's playing two roles and directing. He is the greatest multi- tasker in the world. CM: How did he deal with his own performance? How did that affect your decisions? KS: In terms of his performance, I try to approach it just like I would any other performance. I made my choices based on how I felt the performance would fit into the piece overall and how it worked in each scene. My editorial choices were based on what I felt was most grounded and most truthful. I would present him with the performance I felt made sense, and then we would discuss it. Occasionally, he would push back and say, "I love that take where I'm laughing a lot," or "I love that take where I'm doing a little bit more." I think his taste tended to be a little broader than mine. We met somewhere in the Matthew Booras.