CATEGORY: ACHIEVEMENT IN FILM EDITING
INTERVIEW WITH: CHRISTOPHER ROUSE
FILM: "THE BOURNE ULTIMATUM"
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Q. How many edits did you finally wind up with the in final version?
A. Excuse me?
Q. How many edits did you wind up with in the final version?
A. I wish I knew. Generally, we keep track, but a heck of a lot them.
Q. Can you talk about the animated process and the rapid pace throughout.
A. I just think it's a style that we initiated in The Bourne Identity and (unintelligible) Supremacy and took us to another level in Ultimatum, and it's something kinetic and supports the story in the Bourne character and looks pretty cool as well.
Q. Thank you.
A. Thank you so much.
Q. Congratulations.
A. Thank you.
Q. You mentioned your father on stage. And can you tell us about his work and how he influenced you?
A. Yeah. Glad I'm working that out, but my father was the biggest inspiration to me and he won an Oscar in 1959 for Pillow Talk, a Doris Day film, and first and foremost he taught me about stories, and I approach editing and everything I do and every decision I make is informed by I'm attempting to tell the story in the most effective way possible.
Q. Congratulations.
A. Thank you very much.
Q. Out of curiosity, I would be really impressed if you know this, but how many hours of raw footage did you have to contend with?
A. Gosh, I don't know. I think we shot near 900,000 feet of film or something like that, I believe. But my assistants would know but I'm not too sure about that, a heck of a lot of film.
Q. Thanks. Hi. Are you taking editing to the next level visions in evolution (sic)? This is way different.
A. It is. I mean, again, I think we try to push the envelope and where that goes from here, I'm not sure, but I think, again, it completely supported the story, and it supports you know the Bourne franchise so, you know I think there are already some films that are starting to sort of work in that garden and my suspicion is there will be more work like that.
Q. Thank you. Congratulations.
A. Thank you guys very much.
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