Issue link: https://digital.copcomm.com/i/832212
48 CINEMONTAGE / Q2 2017 middle and then the producers came in and had the final assessment. James was playing twins so there were definitely differences between his two characters, and we had to make sure we addressed those distinctions so the audience would feel the difference between the two. He was pushing to be a little more playful, but I would just say, "I think Vincent's a better Vincent in this performance," or "Frankie is a better Frankie in this performance," and he was respectful of that. I think we had a really good working relationship. He was very open to suggestion and reason, and was very professional. CM: Matt, what was it like editing an episode for a director you'd worked for as an assistant? MB: I took it as a compliment that he wasn't jumping into the chair every minute! We've known each other for years and I can be critical without offending him on some shot that maybe wasn't working. Generally, we had similar tastes. I owe a lot to Kate too. She's been a champion of mine from the beginning. CM: What do you think led to you being bumped up? MB: I remember being down in Baltimore during my first season on The Wire, where I got more face time with the producers and other crew. Early on, I saw Anthony Hemingway get his first opportunity to direct; he was the AD on the previous seasons. Christine Moore, who was the script supervisor, got to direct. So, I knew there was a nice loyalty rewards program going on. When it's an HBO show and is being executive produced by David Simon, Nina Noble and George Pelecanos — just being in that world of high-quality Sunday night HBO — I knew there would be opportunities somewhere down the line. I was anxious to start cutting a few years back, but I knew that if I just stuck with it and tried to do my best, it would pay off in the end. CM: What was it about Matthew that led you two to feel he could move up? KS: I think he's just incredibly calm, patient and a steady source of support. You have to become familiar with the producers, know that you're going to do everything to support them and understand politically how the group works. David likes you to present a point and loves to argue and debate. You have to know when to push and when to take a step back and let it stand. And then, if you really feel strongly, you need to know when to come back in diplomatically and say, "Can we take another look at this?" Kate Sanford.