Leaving that out or putting that in-lingering on that or cutting to the father. I remember we were doing a lot of early screenings of the film and what we were running into a lot was each time we would tweak something, if we would tweak a scene from the first five minutes, that people’s reactions to the final 15 minutes were drastically different and it really had to do with subtle things like a look that Joy (the daughter) would give Evelyn (her mother). It’s the kind of film where if we didn’t set a solid foundation for the viewer and a route for who these characters are and what kind of language the film was speaking, that an hour into the film when things really start to hit their pitch, people would just fall off the train. There were a lot of pieces that we were trying to set up as a foundation in the beginning. Within a thirty second span we’re trying to make you cry and then laugh and then be scared. It reaches a point where-as the viewer-it overwhelms the senses and the emotions.
It’s that kind of movie where it feels overwhelming on purpose. ROGERS: There was a point where we were experimenting with titles because there’s a couple of moments in the film where bits of the title come up as chapters, where we had it stretching and filling the entire frame and expanding. HULLFISH: This is quite the title! It really fills up the movie poster well! He’s also edited the TV series Dream Corp LLC and The Eric Andre Show.Ĭheck out the Art of the Cut podcast to listen to this interview, and stay up to date on all the latest episodes. Paul has also edited the feature film The Death of Dick Long-which I saw in a packed house at Sundance a few years ago- and another called You Cannot Kill David Arquette. In this interview, we discuss the film Everything Everywhere All at Once with the film’s editor, Paul Rogers.
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