72 HFS: Shooting & Editing

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Our shoot went well — and went over. I was hoping to be done by midnight, but we didn’t wrap until 2:30am. Rich the editor stopped by at the end of the shoot to get the tapes. I got to bed around 3:30am.Rich started editing Sunday afternoon and I joined him after biking about 16 miles from my apartment to his place in eastern Queens. It was a good ride and I needed some fresh air, but probably not the best thing for me to do after a 22 hour day and barely five hours of sleep, especially with a PowerBook in my backpack. My neck and shoulders still hurt.When I got to Rich’s, I was excited to see that the footage looked great and the performances were as strong as I remembered them. I knew that Kavi, Debargo, and Aaron would have great chemistry together and was thrilled to see proof of it on the screen.Rich plowed through the shots, meticulously putting together a rough cut on his G5 while I created the end titles on my PowerBook, offered comments every now and then, and ate really good chicken and broccoli with fried rice. We argued about some editing choices and agreed on the other 99 percent. I was in awe at the collection of DVDs and film-related books in Rich’s collection and started reading the shooting script to Magnolia while I ate. P.T. Anderson is one of my favorite writer/directors and I was hoping that I could cop some of his greatness for my project. During the evening, Cooper and I spoke on the phone several times about music and sound effects, and around midnight Rich and I started to match the audio files he sent us to the footage. It was really coming together.We locked picture around 3am and I got a QuickTime version of the short to take home with me. Rich and Cooper would work together on Monday trying to sweeten the audio track as much as possible before the submission deadline.As I munched on a Korean marshmallow puff (in post-production, apparently, directors can mostly eat and sit around while other people do the real work), I felt lucky to be working with such talented people. If the film didn’t work, it would be entirely my fault as a writer/director, because the cast and crew did a great job.I got a ride back to Brooklyn and was asleep by 4:30am.(Rich’s secret underground editing suite)