Backstage Interview | 85th Academy Awards

Film Editing

CATEGORY: Film Editing
INTERVIEW WITH: William Goldenberg


Q.You did a magnificent job with the editing of ARGO. And what is it like to be nominated for two films in the same category the same evening? A.What do you think? I mean, it was fantastic. I was lucky enough to work on two movies this year and especially movies of this quality. And it was a blessing to be nominated for both. It hasn't happened that many times, and I'm in amazing company. So, you know, it was a blessed year, so yeah. Q.Congratulations. A.Thank you. Q.Talk about working with Ben and the producers, George and Grant Heslov. Talk about how how they guided you and how that was. A.Working with Ben is a dream. And we did GONE BABY GONE together and we got along great. And he invited me to do this movie. Ben leads by being inspiring and positive and helpful, and he's my partner in this. We edited this movie together. So, you know, half his. So, and then he's just a great guy. George and Grant were perfect producers. They do what producers should do. They stay back and look at the overall, and they had great comments, and they but they always stayed back and let us do our jobs. And they came in and said really smart things at the right times, and just guided us in a way that I feel like great producers do. Q.Congratulations. A.Thank you. Q.You told our writer (from Variety), Karen Idelson, about having learned some of the skills for running an editing room while growing up in your parents' deli. A.Yes. Q.I'm wondering if you can explain a little bit about what skills you learned from that, and did you ever imagine that that road would take you to this place. A.I obviously wasn't thinking that at the time. Well, my father's deli, you had to do a million things at one time. You had to be making breakfast for, you know, 75 people, and paying bills, be on the phone with beer distributors, doing a million things at one time. And it really does prepare you for the multi tasking that it takes to run an editing room. So that's what I was referring to. Q.Congratulations. A.Thank you. Q.Besides being set in the '70s, the film strives to replicate a kind of '70s aesthetic, its look and its ambiance. How did that affect editing choices or the way you approached the work? A.You know, I watched a lot of films from the '70s that Ben uses references, you know, NETWORK, ALL THE PRESIDENT'S MEN, SUNDAY BLOODY SUNDAY, movies like that, and just to get a feel for it, but when I was cutting, I was merely just trying to tell a great story, trying to get the best performances. So, I mean, so much of that feel of the '70s was done by all the great people who were in production design and makeup and hair and costumes. And so, once the footage got to me, I just tried to tell a great story with it. Q.Thank you so much and congratulations. A.Thank you.


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