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French dispatch4/2/2023 ![]() They’re either going to like this or they aren’t, but that’s very clearly aligned with intentions artistically. We didn’t really do changes based on it, but we learned some things about storytelling, clarity, and exposition, stuff that you wouldn’t get without that experience.īut now that you’ve seen the film, I don’t know what we would gain from a 500-person screening necessarily. So there was a screening process in that. There was an expectation for a different kind of audience in making an animated Roald Dahl film, to make sure that there was certain clarity for kids and families and that they took to it. I think it was a little different on Fantastic Mr. I think it’s just that there’s only so much you can learn. Do you test a book? Do you test other art forms? The only thing that you do that with is this commodity of filmmaking, and that’s because there’s so much money at stake, but I think he just doesn’t look at it that way. I can’t speak completely for him, but he’s much more independently-minded as a filmmaker. I think from Wes’s point of view, none of that is interesting to him or why he makes a film. “Do you test a book? Do you test other art forms? The only thing that you do that with is this commodity of filmmaking.” It’s to see what makes it marketable, what doesn’t make it marketable, what meets their expectations, what doesn’t. It’s a way to engage with the film and test their “product,” if you will, unfortunately, you have to put it that way. WEISBLUM: Well, I think he certainly cares what an audience’s perception is, but I think that the screening process for a lot of filmmakers is a studio process. ![]() Wes Anderson follows Frances McDormand with a shoulder-rigged 35mm Arricam ST. Is it just Wes’s feeling that it’s his film and he knows very well what he’s trying to do? HULLFISH: You’ve probably worked on films that have done extensive screenings. When we did Moonrise Kingdom, I think maybe a dozen people in total had seen the film at the time we premiered it at Cannes. We have friends and family and people that we share the film with and we know our intentions, but you don’t really know how it’s going to be received until it finally hits the street. WEISBLUM: Yeah, with Wes films, we don’t do a lot of audience screenings. I’m sure you’ve been anxious to have people see it. So, cut to a year plus later and now it’s getting released. The original plan was for it to be released in May at the Cannes Film Festival 2020, but obviously, that didn’t happen. WEISBLUM: We began filming at the end of 2018 into 2019, and the editing process went through all of 2019 and a little bit into the very beginning of 2020 just finishing up the DI and visual effects. HULLFISH: So, tell us when this film actually was shot and the period of time that you worked on it. I think it was Eddie Hamilton who I interviewed that was cutting Kingsman and Mission Impossible at the same time. ![]() HULLFISH: So it’s not like you’re just working on these films for three weeks at a time?. ![]() I’ve been lucky to work steadily for the past two years, there have been a lot of projects that I’ve worked on that are now all finally getting released. WEISBLUM: Yeah, I had The Eyes of Tammy Faye in September and now I have Tick, Tick… Boom! It’s just a weird pile-up of movies, but I think it’s happened for a lot of people. HULLFISH: You’ve got other films on the tail of this one coming up too. There were other things going on in the world. It’s been a long wait for it to finally see the light of day, but it couldn’t be helped, obviously. You can bet that we’ll be talking with both of them about that film in a few weeks.Ĭheck out the Art of the Cut podcast to listen to this interview, and stay up to date on all the latest episodes. He also edited the upcoming Lin-Manuel Miranda film, Tick, Tick… Boom!, with another frequent Art of the Cut guest, Myron Kerstein, ACE. Fox, the BAFTA-, ACE Eddie-, and Oscar-nominated Black Swan, the ACE Eddie-nominated pilot for Smash, the ACE Eddie-nominated Moonrise Kingdom, and he was the supervising editor on the Ace Eddie-nominated Isle of Dogs. I last spoke with Andrew when he edited Alice Through the Looking Glass.Īndrew’s filmography is incredibly diverse The Darjeeling Ltd., The Wrestler, the ACE Eddie-nominated Fantastic Mr. Today, we’re speaking with Andrew Weisblum, ACE, about the Wes Anderson film, The French Dispatch.
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