Issue link: https://digital.copcomm.com/i/942009
41 Q1 2018 / CINEMONTAGE Williams for Best Actress and Plummer for Best Supporting Actor; none of them will win. In January, Plummer will receive an Oscar nomination, the only one for the film.) Tuesday, December 5, 2017 – Scott and Simpson screen the final mix with all the new scenes incorporated. Wednesday, December 6, 2017 – All visual effects are finalized and the DI is updated. Color correction is completed in LA. Thursday, December 7, 2017 – Scott flies back to LA and the final DCP is screened — just under a month after announcing the film would be re-cut, and less than three weeks after receiving the new dailies. Friday, December 8, 2017 – Simpson packs up the cutting room and prepares to leave for her home in Italy. Monday, December 18, 2017 – A month and a day after its originally planned premiere date, the film premieres at the Academy of Motion Picture Arts and Sciences' Samuel Goldwyn Theatre in Beverly Hills. Monday, December 25, 2017 – All the Money in the World is released, three days after its originally announced release date, as Sony allegedly wanted to avoid competition from The Greatest Showman, which opened December 20. I n an exclusive interview from her home in Italy, Simpson shared with CineMontage her experiences on the 11th-hour re-cut of All the Money in the World. The original news about Spacey had a deep impact on the crew, according to the editor. "We were all shocked and saddened by the news of the allegations against Kevin Spacey of sexual harassment," explains Simpson. "When it was announced that Netflix would drop him from future projects, we were anticipating that we would be the next casualty — but Ridley does not go down without a fight." When it was announced that all of Spacey's scenes would be re-shot with Plummer in the role, Simpson says her first reaction was to make sure she had enough crew to cope with any extended schedule. "Many staff had planned vacations or were about to start other films," she reveals. "But without exception, the entire crew rescheduled their plans. Too much hard work by cast and crew had gone into making the film and we did not want to see that work squandered. "There was a general feeling of euphoria, of renewed energy and focus," she adds. "We had 22 scenes to be re-shot and edited with sound effects and dialogue remixed, music re-cut and visual effects completed in three weeks." For the editor, the logistical challenges were clear: "It had to be conducted like a military campaign with absolute precision if we were to deliver within such a tight time frame. There was no room for mistakes. Ridley drew storyboards for all the scenes. There was incredible synergy between all the departments. "Once production started, it was imperative that we received the dailies as fast as possible," Simpson continues. "The decision was made to split the film after each scene had been completed so that the scenes could be couriered to us immediately. By the afternoon, I was editing the material from that morning's shoot so that by the time Ridley arrived in the cutting room after wrap, he was able to see at least one cut scene from the day's shoot, and then dailies from that afternoon. Also, cut scenes would be disseminated to sound, music and visual effects daily so that they could work concurrently with picture." The only scene that wasn't completely re-shot on location was part of a montage at the beginning of the film, depicting the elder Getty in the Arabian desert, shaking hands with sheiks, according to Simpson. "To re-shoot the desert scene, originally shot in Jordan, was out of the question because of time and money," Ridley Scott, right, directs Christopher Plummer in a re-shot scene in All the Money in the World. Sony Pictures Entertainment