Features

CineMontage talked to four editors of Bond past: John Glen, Terry Rawlings, A.C.E, Michel Arcand and Christian Wagner.

Although these occurrences are far from commonplace, they are testament to the talent of these assistants-turned-editors.

“I thought this would end fast, and I’m shocked that I’m still doing it.” – Mo Henry

Just as the show itself tells the story of an organized team of spies, agents and heroes on a mission to protect the world, the editorial mission requires a similarly dedicated team.

The release of Hancock’s current film, Saving Mr. Banks, which tells the tale of the making of Disney’s famous film, Mary Poppins, puts the spotlight on an unlikely pairing in many respects.

“Some of my directors definitely say that sitting with me in the editing room is a therapy session… I recommend to editors to go to a therapy session, because I think they would learn a lot about what it’s like to really listen and be able to draw out what a director is thinking and feeling.” – Stephen Mirrione

Because of the bifurcated way in which most films and television shows are made, with production and post-production each functioning more or less independently, they seldom have occasion to work together on a one-on-one basis. That does not mean, however, that they do not collaborate.

The editorial opportunities have obviously changed as the series has evolved. According to Goldman, one of the goals for the pilot was to cut every scene so that it could be interpreted that Brody was either a terrorist or was just messed up from Post-Traumatic Stress Disorder.