Defying Gravity and Genres: Oscar-Nominated Editors Reflect on Their Creative Journeys

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Even before the camera captures the initial shot of a movie, editor Myron Kerstein develops an intuition from the written words. “I strive to grasp the emotions as I read a script,” explains Kerstein, who garnered his second Oscar nomination in film editing for his frequent partner Jon. M. Chu’s adaptation of “Wicked.” “When something stirs goosebumps within me or evokes feelings in my heart while reading a script, that’s always crucial to me. I try to heed the whispers of my heart.

The first time he encountered “Wicked’s” script, Kerstein recalls feeling so moved that he wept at the end. This same emotional impact is what he aimed to replicate during the filmmaking process.

At the heart of the stage musical transformation is the blossoming friendship between Elphaba (Academy Award-nominated Cynthia Erivo), who eventually becomes the Wicked Witch of the West, and Glinda (Academy Award-nominated Ariana Grande), the virtuous Witch. The pivotal moment that sets this bond in motion unfolds within the Ozdust Ballroom. Kerstein explains, “Once you capture footage of something like the Ozdust Ballroom and feel it emotionally, you realize, ‘This is a whole different story altogether.'”

The main part of the musical adaptation is the friendship that forms between Elphaba (Cynthia Erivo) and Glinda (Ariana Grande), with the friendship starting at the Ozdust Ballroom. Kerstein says it’s like a whole new experience when you see this on film and connect emotionally to it.

Jon and I had an extended conversation about the crucial scene during scriptwriting and while they were rehearsing, he recounts. We both realized that this pivotal scene would be the heart of the movie. If it didn’t succeed, the rest of the film could potentially unravel.

You don’t have much time to develop this friendship and experience a strong connection, as we needed to move through a lot of ground swiftly,” he explains, pointing out that despite this, there was an ample amount of content. “I had extended takes to examine, and each one of those takes left me emotional at the end of filming.

Initially, Elphaba is viewed as an outcast by others before Glinda interacts with her. This narrative strategy was used to create discomfort among viewers, allowing them to empathize not just with Elphaba, but also with Glinda and those who bully Elphaba. The storytelling technique includes frequent shifts in perspective, dramatic pauses, and strategic periods of silence.

In the case of nominee Sean Baker, the script and editing for the film “Anora” were closely linked, since he served as both the writer, director, and editor (nominated in each category). He mentioned that he often kept his editor’s hat on, to some extent, during the writing and directing stages. This intentional approach led to the inclusion of transition details and cutting points within the script. At times, these elements were explicitly written out, while at other instances, they were left underdeveloped, with the intention of fine-tuning them during post-production.

For a significant portion of the movie, sex worker Ani (portrayed by Oscar-nominated Mikey Madison) is accompanied by her new husband’s family as they traverse Brooklyn, all while being pursued to annul their marriage due to pressure from his Russian oligarch parents. This segment was deliberately designed for discovery, as Baker states, “We planned to film that entire section in a documentary-like style, occasionally resembling ‘Candid Camera’.

He points out that there are other key moments, like the home invasion scene, which is meticulously written and necessary for the storyline. This sequence was heavily influenced by the plot and some of its edits were already planned in advance, such as the abrupt cut to her with a scarf around her mouth, indicating she had been gagged.

Nick Emerson, editor for “Conclave” magazine, shares that he intentionally doesn’t read the source novel when working on a film adaptation. Upon reading the script for Edward Berger’s “Conclave,” he was captivated, finding it to be a suspenseful and engaging story. The narrative revolves around Cardinal Lawrence (portrayed by Oscar-nominee Ralph Fiennes), who convenes a conclave to choose a new pope, only for various secrets to unravel. This script reminded Emerson of the gripping ’70s thrillers like “The Parallax View” or “All the President’s Men.

He mused, “It’d be fantastic if we could strive for something similar, wouldn’t it?” Edward and I aimed to be meticulous in our editing techniques. We wanted to avoid rapid cuts, instead waiting till the very end to make them, and we also pledged not to repeat any shot multiple times. … In those ’70s suspenseful thrillers, we discussed how much of it lies in withholding, holding back until the last possible moment.

Emerson points out that the movie has numerous unexpected developments, leading viewers to speculate who might be chosen as the next pope as the surprising finale. However, he adds, there’s one more twist: “It’s all about the exceptional writing and acting.” He explains that they aimed to keep edits to a minimum, maintaining a subtle approach rather than heavily preparing the audience. “At times, it’s the lack of information that creates suspense, followed by an abrupt revelation,” he concludes.

Juliette Welfling, the editor of ‘Emilia Pérez’, has been nominated for her second Oscar. She recalls the initial time she read the unconventional script for Jacques Audiard’s crime musical as a moment where she wasn’t quite sure what she was in for because it blended various genres. She read it late at night and found herself unable to put it down, losing sleep due to her excitement. However, it wasn’t until she saw the daily footage that she truly understood this project would be something unique – in a positive sense.

When revising her work, she discovered the optimal strategy was to avoid excessive contemplation. Instead, she chose to let her feelings guide her, treating it as if it were a continuous whole rather than transitioning between different genres.

In terms of the melodic segments, she followed a method of focusing on the emotion conveyed through her performance, yet subtly blended into the musical aspect. For example, the vocals could start before the instruments joined in. This approach was quite spontaneous and seamless, and we aimed to preserve this organic flow during the daily filming sessions.

David Jancsó, editor of the Oscar-nominated film “The Brutalist,” expressed his awe via email upon first reading the script, saying he was taken aback by its ambition and depth. The epic story, directed by Brady Corbet, centers around (fictional) Hungarian architect László Tóth, portrayed by Oscar nominee Adrien Brody. Having escaped post-war Europe, László seeks to rebuild his life in America. Jancsó explained that as the project progressed, the focus of the edit changed in response to the acting, cinematography, and authentic moments captured during production. The final cut aimed to give the story room to unfold, highlighting vulnerable and imperfect moments. While the early vision stressed precision, the editing process ultimately prioritized a natural flow.

In simpler terms, Baker emphasizes his belief that editors and editing in filmmaking deserve more recognition, stating, “I believe the editor’s credit should be placed alongside the writer and director’s credit because it holds equal significance.” He further explains, “Editing can have a significant impact on a movie – it can transform an average or even poor film into a true work of art.

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2025-02-15 19:48