T H E - American Cinema Editors
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THE MAGAZINE FOR FILM & TELEVISION EDITORS, ASSISTANTS & POST-PRODUCTION PROFESSIONALS
T H E T E L E V I S I O N I S S U E
IN THIS ISSUE
KILLING EVE
GAME
OF THRONES
BLACK MIRROR:
BANDERSNATCH
FOSSE/
VERDON
LORENA
THE GOOD PLACE
AND MUCH MORE
US $8.95 / Canada $8.95
QTR 3 / 2019 / VOL 69
THE YEAR’S MOST ACCLAIMED NEW COMEDY
“
BRILLIANT.
A GORGEOUSLY REALIZED, FUNNY, TIGHT-AS-A-DRUM STORY.”
V U LT U R E
13 EMMY NOMINATIONS
®
INCLUDING
OUTSTANDING COMEDY SERIES
OUTSTANDING SINGLE-CAMERA PICTURE EDITING
FOR A COMEDY SERIES
“ARIADNE”
LAURA WEINBERG
FYC.NETFLIX.COM
PETITION FOR
EDITORS RECOGNITION
T he American Cinema Editors Board of Directors
has been actively pursuing film festivals and
awards presentations, domestic and international,
• Sundance Film Festival
• Shanghai International Film Festival, China
• San Sebastian Film Festival, Spain
that do not currently recognize the category of Film • Byron Bay International Film Festival, Australia
Editing. The Motion Picture Editors Guild has joined • New York Film Critics Circle
with ACE in an unprecedented alliance to reach out • New York Film Critics Online
to editors and industry people around the world. • National Society of Film Critics
The organizations listed on the petition already We would like to thank the organizations that have
recognize cinematography and/or production design recently added the Film Editing category to their
Annual Awards:
in their annual awards presentations. Given the
essential role film editors play in the creative process
• Durban International Film Festival, South Africa
of making a film, acknowledging them is long
• New Orleans Film Festival
overdue. We would like to send that message in
• Tribeca Film Festival
solidarity. Please join us as we continue the effort to
• Washington DC Area Film Critics Association
elevate the perception of editors everywhere. • Film Independent – Spirit Awards
• Los Angeles Film Critics Association
You can help by signing the petition to help get • Chicago Film Critics Association
recognition for film editors by asking these • Boston Film Festival
organizations to add the Film Editing category to • The International Animated Film Society –
their annual awards: Annie Awards
• Academy of Science Fiction, Fantasy & Horror –
Saturn Awards
Please sign our petition at:
www.EditorsPetition.com
Now endorsed by the Motion Picture Sound Editors, Art Directors Guild, Cinema Audio Society,
American Society of Cinematographers, Canadian Cinema Editors, and Guild of British Film and Television Editors
Committee for Creative Recognition
QTR 3 / 2019 / VOL 69
stock footage 30 32 editor’s cut
04 34
Letter from the Board ACE Annual Meeting
A message regarding the Lea Yardum receives
2020 ACE Eddie Awards Heritage Award;
New members presented plaques
08
What’s New! 38
News & Announcements Lea Yardum
Short Cut Comic ACE Heritage Award Honoree
BY WALTER FERNANDEZ JR.
BY JOHN VAN VLIET
10 26 40
Aspects of Editing ACE TechFest
Reflections of Debuts in L.A.
BY HARRY B. MILLER III, ACE
a TV Repairman
BY STUART BASS, ACE
44
14 EditFest London
Tech Corner Lee Smith, ACE, keynotes the
Avid had a party. But wait... 24 celebration of film editing
BY HARRY B. MILLER III, ACE
48
16 In Memoriam
Global Editing Terry Rawlings, ACE
BY ADRIAN PENNINGTON
Perspectives
Examining India’s
expansive film industry 50
BY EDGAR BURCKSEN, ACE In Memoriam
Barry Malkin, ACE
52 BY JACK TUCKER, ACE
Cuts We Love
Se7en
BY ADRIAN PENNINGTON
20 22
features
20 22 24 26
Black Mirror: Game of Thrones The Good Place Fosse/Verdon
Bandersnatch Tim Porter, ACE, pours his proud Eric Kissack is in heaven The miniseries is a time capsule of
Tony Kearns solves the puzzle and battle-hardened soul into for NBC’s hit comedy drama Broadway’s glitziest years as much as
of Netflix interactive drama episode 3 of the series’ final season BY GREGOR COLLINS an exploration of the romantic and
BY ADRIAN PENNINGTON BY ADRIAN PENNINGTON creative partnership of the iconic couple
BY NANCY JUNDI
30 32
Lorena Killing Eve
Poppy Das, ACE, searches for Gary Dollner, ACE, describes
the truth behind the punchlines lacing the stylish cat-and-cat
BY SCOTT LEHANE thriller with humor
BY ADRIAN PENNINGTON
02 CINEMAEDITOR QTR 3 / 2019 / VOL 69 Cover image: Jodie Comer and Sandra Oh. Photo courtesy of BBC America. ©2019 AMC Networks Inc.
Outstanding Single-Camera Picture Editing For A Drama Series
KATIE WEILAND, ACE
Editor (“The Iron Throne”)
TIM PORTER, ACE
Editor (“The Long Night”)
CRISPIN GREEN
Editor (“Winterfell”)
Outstanding Single-Camera Picture Editing For A Comedy Series
KYLE REITER, ACE
Editor (“berkman > block”)
JEFF BUCHANAN
Editor (“ronny/lily”)
FOR YOUR EMMY
consideration
®
Outstanding Single-Camera Picture Editing
For A Limited Series Or Movie
JINX GODFREY
Editor (“Open Wide, O Earth”)
SIMON SMITH
Editor (“Please Remain Calm”)
Congratulations
to our Emmy nominees
®
LETTER FROM THE BOARD
A MESSAGE REGARDING
THE 2020 ACE EDDIE AWARDS
W
elcome to the annual CinemaEditor Television with contenders having to be released between Jan. 1,
Issue. We hope you enjoy the feature stories 2019, and Dec. 31, 2019.
on series including Bandersnatch, Killing The black-tie awards ceremony will again unveil
Eve, Fosse/Verdon, The Good Place, Lorena and Game winners for outstanding editing in 11 categories of
of Thrones. This issue also presents roundups of recent film and television including: Best Edited Feature Film
ACE events including its successful debut TechFest, as (Drama), Best Edited Feature Film (Comedy), Best Edited
well as the Annual Meeting and EditFest London. Animated Film, Best Edited Documentary (Feature),
ACE recently announced the 2020 ACE Eddie Best Edited Documentary (Non-Theatrical), Best Edited
Awards schedule – culminating with a Jan. 17 ceremony Drama Series for Non-Commercial Television, Best
at The Beverly Hilton – and we want to add a reminder Edited Drama Series for Commercial Television, Best
that there’s been a shift in timing to almost three weeks Edited Comedy Series for Non-Commercial Television,
earlier than usual. This was prompted by a truncated Best Edited Comedy Series for Commercial Television,
awards-season landscape, ignited by the 2020 Oscars® Best Edited Miniseries or Motion Picture for Television
moving up to Feb. 9. and Best Edited Non-Scripted Series.
Most notable for Eddie entrants, the television Submissions for the ACE Eddie Awards open Sept. 13
categories’ eligibility dates have changed. Television and close on Nov. 1. For more information or to submit
contenders must have aired between Jan. 1, 2019, and for awards consideration beginning Sept. 13, visit the
Nov. 1, 2019. Feature film eligibility remains the same ACE website at www.americancinemaeditors.org.
Awards Timeline
September 13, 2019 Submissions for Nominations Begin
November 1, 2019 Submissions for Nominations End
November 18, 2019 Nominations Ballots Sent
December 9, 2019 Nominations Ballots Due
December 11, 2019 Nominations Announced
December 16, 2019 Final Ballots Sent
December 20, 2019 Deadline for Advertising
January 5, 2020 Blue Ribbon Screenings (TV Categories)
January 6, 2020 Final Ballots Due
January 15, 2020 Nominee Cocktail Party
January 17, 2020 70th Annual ACE Eddie Awards
04 CINEMAEDITOR QTR 3 / 2019 / VOL 69
Outstanding Single-Camera Picture Editing
For A Limited Series Or Movie
VÉRONIQUE BARBE
JUSTIN LACHANCE
MAXIME LAHAIE
ÉMILE VALLÉE
JAI M. VEE
Editors (“Fix”)
FOR YOUR EMMY
consideration
®
Outstanding Single-Camera Picture Editing
For A Limited Series Or Movie
MARTIN NICHOLSON, ACE
ERICK FEFFERMAN
Editors
CINDY MOLLO, ACE
Additional Editor
Congratulations
to our Emmy nominees
®
Official Periodical of the American Cinema Editors, Inc. Founded November 28, 1950.
EDITORIAL STAFF
INTERNATIONAL EDITOR EDITORIAL CONSULTANT ART DIRECTOR EDITORIAL ASSISTANT
Adrian Pennington Carolyn Giardina Luci Zakhary Peter Zakhary
BUSINESS AFFAIRS
PRODUCTION MANAGER PRODUCTION COORDINATOR PRODUCTION ASSISTANT ADVERTISING & DISTRIBUTION
Jenni McCormick Marika Ellis Gemmalyn Brunson Peter Zakhary PRESIDENT
Stephen Rivkin, ACE
ADVISORY BOARD
VICE PRESIDENT
Edgar Burcksen, ACE Harry B. Miller III, ACE Andrew Seklir, ACE Alan Heim, ACE
SECRETARY
CONTRIBUTORS Lillian Benson, ACE
Stuart Bass, ACE, won an Emmy® for Pushing Daisies Nancy Jundi has been a contributing writer to Cinema- TREASURER
and an ACE Eddie Award for Arrested Development. He has Editor since 2006. She is a technical consultant and Stephen Lovejoy, ACE
many Emmy/Eddie nominations including for The Office, communications strategist in the Los Angeles area for
The Wonder Years and Sabrina, the Teenage Witch and post-production facilities, non-profit organizations and
has worked with highly-talented helmers such as Barry tech start ups.
Sonnenfeld, Paul Feig and Andy Ackerman.
Scott Lehane is a freelance journalist who has
Edgar Burcksen, ACE, is an award-winning, veteran, covered the film and TV industry for over 20 years.
BOARD OF DIRECTORS
working editor. He was the Editor in Chief of and is a
regular contributor to CinemaEditor magazine.
Jacqueline Cambas, ACE
Harry B. Miller III, ACE, is a feature, television Dorian Harris, ACE
Gregor Collins is a speaker, author, actor and script- and documentary editor. His recent credits include Turn:
Washington’s Spies and The Predator. Tina Hirsch, ACE
writer living in New York. Starting his career in Los Angeles
producing reality TV, he shifted gears to acting, performing Maysie Hoy, ACE
on stage, television and independent films. His writing and Adrian Pennington is a journalist, editor and mar-
Bonnie Koehler, ACE
acting have been featured in the Los Angeles Times, The keting copywriter whose articles have appeared in the
Guardian, Huffington Post, Publishers Weekly, Cinema- Financial Times, British Cinematographer, Screen Inter- Carol Littleton, ACE
Editor magazine, and on Off- and Off-Off Broadway stages national, The Hollywood Reporter, Premiere, Broadcast, Mary Jo Markey, ACE
across New York. Gregor currently travels the globe giving RTS Television and The Guardian. He is co-author
talks about his unique relationship with Holocaust refugee of Exploring 3D: The New Grammar of Stereoscopic
Michael Ornstein, ACE
Maria Altmann, chronicled in his memoir, The Accidental Filmmaking (Focal Press, 2012) and his favorite film of Sabrina Plisco, ACE
Caregiver. Altmann was portrayed by Helen Mirren in the all time is Gilda.
film Woman in Gold. Kevin Tent, ACE
Jack Tucker, ACE, Emmy®-nominated editor and
Walter Fernandez Jr. was the Editor in Chief of
first-ever recipient of the ACE Robert Wise Award, was
CinemaEditor magazine from August 2010 until June 2013.
at the helm of CinemaEditor magazine at the close of
He has worked in marketing and distribution at IMAX
and the MPAA. He has written for CinemaEditor since 2003. the 20th century. He recently produced documentary
ASSOCIATE BOARD
feature American Empire with his partner, director
Carolyn Giardina is an award-winning journalist and Patrea Patrick. Kate Amend, ACE
author who serves as tech editor at The Hollywood Mark Helfrich, ACE
Reporter, which includes hosting its Behind the Screen John Van Vliet has worked in animation and visual
podcast series. She is also co-author of Exploring 3D: effects for more than 32 years. Although his involvement Eric Sears, ACE
The New Grammar of Stereoscopic Filmmaking (Focal on bad pictures far outnumbers the good ones, all have Andrew Seklir, ACE
Press, 2012). One of her first assignments at the start provided raw material for his drawings – for which he’s
of her career was a feature story about editing – and grateful. Visit MigrantFilmWorker.com for more.
she has enjoyed covering editors ever since.
SUBSCRIPTION, ADVERTISING & CONTACT INFO EXECUTIVE DIRECTOR
Jenni McCormick
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Cost is $10 per issue.
PH 323.956.2900 The objects and purposes of
MAKE CHECKS PAYABLE TO American Cinema Editors
TO ADVERTISE OR FOR ADVERTISING RATES Credit cards accepted. CinemaEditor is complimentary the American Cinema Editors
Peter Zakhary peter@americancinemaeditors.com to ACE members. are to advance the art and science
DIGITAL ADVERTISING QUESTIONS ACE WEBSITE QUESTIONS of the film editing profession;
Libby Higgins libby@americancinemaeditors.org Kate Higgins kate@americancinemaeditors.org to increase the entertainment
value of motion pictures by
CinemaEditor Magazine is published quarterly by the American Cinema Editors. The views expressed in this
periodical do not necessarily reflect the views of the Board of Directors or the membership of ACE. Reproduction attaining artistic pre-eminence
in whole or part without written permission is prohibited. ©American Cinema Editors, Inc. All rights reserved. and scientific achievement in the
creative art of film editing;
STAY CONNECTED to bring into close alliance those
film editors who desire to advance
Like us on Facebook Follow us on Twitter the prestige and dignity
American Cinema Editors (ACE) @acefilmeditors of the film editing profession.
American Cinema Editors website
www.americancinemaeditors.org
Outstanding Single-Camera Picture Editing
For A Limited Series Or Movie
LEO TROMBETTA, ACE
Editor (“If You Have Ghosts”)
Outstanding Picture Editing For A Nonfiction Program
JULES CORNELL
Editor
FOR YOUR EMMY
consideration
®
Outstanding Picture Editing For Variety Programming
RYAN BARGER
Editor (“The Wax & The Furious” - segment)
ANTHONY MIALE
Editor (“The Journey Of Chiijohn” - segment)
Congratulations
to our Emmy nominees®
CONGRATULATIONS
Martin Cohen To Receive MPEG
Oct. 5 gala at the Sheraton Universal Hotel
in Universal City. Cohen served as head of
post-production for Amblin Entertainment
WELCOME
American Cinema Editors would
Fellowship and Service Award beginning in 1987 and then for DreamWorks like to welcome new ACE members:
from 1994 to 2005, before moving to
Jason Ballantine, ACE
Paramount Pictures where he oversaw
Jeff Buchanan, ACE
all aspects of feature post-production for
all the studio’s releases through 2010. Monty DeGraff, ACE
He has also served as a producer or execu- Robert Fisher, Jr., ACE
tive producer on films such as The Hunger Carla Gutierrez, ACE
Games and supervised the restoration of Martin Singer, ACE
classics such as The Godfather trilogy and Steve Welch, ACE
Jaws. “We are delighted to honor Marty
with our Fellowship and Service award,”
says MPEG President Alan Heim, ACE.
“He perfectly exemplifies the values that the
CORRECTION
Guild holds most dear by forging a career The article John Wick: Chapter 3 –
in this industry that has served not only the Parabellum in the second quarter issue
films on which he has worked, but the many of CinemaEditor magazine incorrectly
The Motion Picture Editors Guild (MPEG) filmmakers and colleagues with whom he’s identified one of Evan Schiff’s co-
will honor veteran post-production execu- collaborated. He has consistently given editors. He is Matt Evans, not Matthew
tive and producer Martin Cohen with its back to our community and that makes him Evan Walsh.
Fellowship and Service Award during an the ideal recipient for our highest honor.”
Advertiser Index
IFC Russian Doll
01 Petition for
Editors Recognition
03 HBO FYC
05 HBO FYC
07 HBO FYC
09 Blackmagic Design
11 Adobe
13 Avid Technology, Inc.
17 NBCUniversal StudioPost
19 Filmtools
29 Sohonet
SHORT CUT COMIC
35 Fleabag
37 The Marvelous Mrs. Maisel
39 The Marvelous Mrs. Maisel
42 ACE TechFest Sponsors
43 Ever/Cast
47 EditFest London Sponsors
49 The Looping Group
BY JOHN VAN VLIET
49 Cutting It in Hollywood
51 Motion Picture
Editors Guild
BC Ozark
TO ADVERTISE OR FOR ADVERTISING RATES
Peter Zakhary / 626.695.7493
peter@americancinemaeditors.com
08 CINEMAEDITOR QTR 3 / 2019 / VOL 69Shown with the
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Learn more at www.blackmagicdesign.comReflections
of a
TV Repairman
BY STUART BASS, ACE
T
here are many excellent television directors who understand Executive producers brought Myron Smith to direct MacDriver,
the pace and limitations of series television and guide the because they had great experiences with him 20 years before
actors to subtle performances. They know how to shoot on TV westerns. In that time, audience expectations had changed
coverage and maybe design a few cool-looking camera moves. a lot. Old TV westerns were shot in seven days. Action scenes
But on occasion we get directors who are mismatched for a show. were composed of a wide master of cowboys shooting at each
They can’t block, get hung up on unimportant story points, and other and a few choice medium shots for dialogue. Smith’s
miss key scene beats. episode was so badly directed it required 108 second-unit insert
On most long-running TV series the actors know their shots (many were technically principal photography) shot over
characters, the photographic style is set, most departments from three days to make the scenes coherent. In one scene, the director
casting to set design answer to the showrunner not the director. covered an intense four-page car chase setting the camera on
Here is a thought experiment: Imagine a show without a one hill to capture the cars on an opposite hill thinking this was
director, where the actors block themselves, the camera operators enough action to engage the audience. Along with a lack of
figure out the shots, the AD runs the set. This occurs when coverage, the close-ups were shot at the same angle as the master,
an unseasoned crew member is moved up to director. Usually making matches difficult.
the show turns out okay. Some jokes may be missed, some So it begins for the editor. What are we going to do to make
moments are flat but usually about 80 percent of the script this episode look and feel like other episodes of MacDriver?
makes it to the screen. First off there is the ‘brilliant edit.’ We run the scene and
The horror that I confront as an editor is the rare occasion the dailies over and over again looking for inspiration. Then a
when a terrible director gets the gig and I have to contend with conversation with my assistant; a late night revelation; encouraging
40-50 percent of the script realized on the screen. These rubes words from the showrunner; and the answer is there. Aha! Use the
make the show worse than if there was no director. They may bad take for picture but repo it and steal dialogue from another
be maestros with a skill such as shooting live sport events or episode. It was so clearly the answer!
excellent at pitching network execs but fail miserably at working Maybe I can use the tried and true blow-up. If a wide shot is
a nuanced comedy. in sharp focus, a 200 percent blow-up can create coverage when
When writers, directors of photography, actors, editors, set there was none. I have heard editors refer to slow optical push-ins
designers and others on a crew don’t perform well, they don’t as Dramanators. They add tension to lifeless scenes.
survive. But directors are different. A director with poor skills can Speeding up or slowing down the frame rate will build
build a reel of material that can be very impressive after rewrites, moments. If the director didn’t get a reaction maybe a bit of the
reshoots, opticals and intense editing go into fixing the show. actor can be found before a slate and slowed down to look like
For the purposes of this article I am going to fictionalize and an intense look. There is a very poignant Wonder Years episode
create a composite director named Myron Smith and a composite ending made from Mobius strip loops of manufactured reactions.
series I’ll call MacDriver which is not related to my experiences When scenes are blocked badly and jokes or beats are not
on MacGyver (1985-92). Hopefully, using anonymity I may working I will trim out pages of dialogue. I enlist the writers as
continue living my life without a bodyguard and food taster. reinforcements. On Arrested Development with the help of the
10 CINEMAEDITOR QTR 3 / 2019 / VOL 69Terminator: Dark Fate
Apollo 11
Wu-Tang Clan: Of Mics and Men
Knock Down The House
The Biggest Little Farm
The Old Man & the Gun
Uncommonly good stories
with one thing in common.
More editors and filmmakers are turning to Adobe Premiere Pro
to bring their ideas to film, television, and the web.
© 2019 Adobe. All rights reserved. Adobe, the Adobe logo, and Adobe Premiere are either registered trademarks or trademarks of
Adobe Systems Incorporated in the United States and/or other countries. All other trademarks are the property of their respective owners.writers we often came up with a graphic joke, insert of a news- Marco was the nicest person. He treated everyone with respect.
caster, or a flash to another scene to bridge missing story. He was soft spoken. When he worked with producers he did not
Often poor directors will miss the sense of urgency in a resist or make faces, he gleefully executed their notes. However,
scene. Well-placed ADR and insert shots can help create urgency. he had a secret super power. If he had a better idea of how to fix
Underscore can build emotion when there was nothing. Sometimes a scene, using humility he carried out the fix and somehow he
it’s just a matter of when to start and stop a cue to underline a story allowed the producer to feel it was their idea. It was a humble
point. I often joke after hearing in the final mix how the composer transference of ego. The producer would sit behind him and say,
should get the directing credit. “That joke isn’t landing.” Marco would quickly trim a few frames,
Back in the day on MacDriver (totally fictional), one of the steal a reaction and praise the producer for his comedy chops.
editor’s tasks was shooting inserts. Sometimes they are details like This was not condescending. Marco sincerely communicated
a bomb ticking to create tension, or tight shots of Mac building gratitude with subtle expressions and knowing nods. The producer
his gimmicks for clarity. The inserts might be a wide shot which left feeling success and empowered. In this world of ‘lean in’ and
doubles to create geography that the director missed. Very often ‘sharp elbows’ Marco’s zen approach had him cutting several
the careful use of inserts and sound can fill out drama where there sitcoms a week, taking a percentage of the video facility profits,
was just a limp master shot with the actors lined up like a remake and buying apartment buildings throughout Los Angeles.
of A Chorus Line. An insert can create a scene transition when the Myron Smith has pissed off the performers; missed moments;
director left bupkis. missed technical fundamentals like the 180-degree rule; and
VFX editors and assistants who are masters at temp effects called me every morning in an attempt to have me fawn over the
are heroes. In order to be in the bad directors club you have to dailies. He insists on sitting next to me while going through his
ignore framing. Why is there a piece of that distracting character cut and his touches and goofy punches are a bit over-friendly.
floating at the edge of frame? Presto! Gone. Why don’t the over- It’s as if Myron has hidden a flaw in every scene for me to find.
the-shoulder shots match? Voila! Clean Cut. Why don’t the actors His scenes remind me of the kids magazine, Highlights, What’s
react at the same time in that group shot? Bam! Frankenshot. And Wrong with This? Look closely to find 24 silly things. After sitting
by Presto! Voila! and Bam! I mean many growling hours in After with Myron for a day hoping he could give me a clue of how to
Effects pounding out traveling mattes. unlock these scenes I realize he is as clueless in the editing room as
We employ these technical measures to fix mediocrity; he is on the set. We swap out a performance; find the camera move
the tricks learned since I picked up my dad’s 8mm camera and he loves even after I point to the c-stand clearly passing by; we end
started shooting war stories with neighborhood kids in the with a reaction though the scene was over long ago. We add top-40
backyard. But these schemes are not the whole story. There is music he brought in though the studio warned us about licensing
another ingredient to successful TV repair. costs. I summon the inner Marco Zappia in me and happily perform
Back when I was an assistant trying my damnedest to move his lateral notes praising his comedy chops. His DGA-designated
up to editor there was a guild rule that assistant editors had to days are over, he tells me he can’t wait to work with me again, and I
assist for eight years. I had cut about 800 commercials and many sigh with relief as his Ferrari speeds off the lot.
industrial films before coming to Los Angeles. However, because A few days into cutting a poorly-directed show are voyages into
of how I changed guild jurisdictions I could not keep my status darkness. The first thought upon waking is the disaster awaiting
as a picture editor and had to work as an assistant editor. It was on the file server. I drag myself to the studio and procrastinate by
frustrating forced to assist even with so much cutting under my chatting with the guys down the hall. I take my time preparing
belt. I remember asking the president of the guild at the time, Irv caffeine strong enough to keep me focused. Even scary emails
Rosenblum, why is there an eight-year rule? He told me that an from the IRS are a preferable distraction. When I ask my assistant
assistant had to gain a certain amount of maturity to navigate the about the dailies he just drops his face into his hands and
politics of the editing room. The rule may have been arbitrary but shudders. I approach yesterday’s shots and am a kid again looking
there is wisdom to the thought. at Highlights magazine. What’s wrong with the picture? The next
Marco Zappia (1937-2013) may have been one of television’s 10 hours I am immersed in damage control, looking for order
most successful editors. He started physically cutting two- where there is nothing but chaos. I call on the editing gods to help
inch videotape on Laugh In and became the most sought-after find the hidden moments and accidental treasures. Strangely, the
multi-cam editor. He lived and breathed editing. He didn’t take editing gods answer my pleas as if I am worthy, uncovering story,
vacations, he told me once he had only been out of the state once building arcs. Keystrokes and mouse movements are elevated to
on a sports remote. On the weekends he took home dailies to moments of grace. In the end I have the gratification of having a
cut as side projects. I had the pleasure of working with him on show that matches the episodes in the series. It may have added 30
a couple shows. What I learned from him had nothing to do with hours to my week but I’m done and ready for the next one. This is
split screens or selecting a performance. the job and that is why I’m paid the medium bucks.
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A Party.
But wait…
BY HARRY B. MILLER III, ACE
“Neo, I want to tell
you something…”
– The Matrix (1999)
A
vid had a party. A coming-out party for their new, hap- in a Windows laptop to replace the aging MacBook Pro (2014)?
pier interface. Their Burbank office was jammed with Mac laptops were heading in the wrong direction for usability
people on May 15 to enjoy food and drink, and to see and performance, and PC laptops were getting faster and more
demonstrations of the latest Avid Media Composer. But wait, flexible. Then Apple released the 2018 Mac mini. Up to a 6-core
I want to tell you something, but that isn’t it… i7 processor, up to 64 GB RAM, and up to a 2 TB SSD.
Premiere Pro has added a couple of features in its latest version And this is what I wanted to tell you: This thing is great!
that make it a very strong competitor to Avid Media Composer in But more on that later.
the Hollywood editing space. You can see two timelines at once, The Avid event was sort of a coming-out party to show lots of
including your source monitor, and edit from one into the other. people the redesigned Media Composer interface. It is brighter, more
Bins can be locked on networked systems, so projects can now colorful and now modular. That means that, like the Premiere Pro
be shared. Under fairly simple circumstances it is very, very fast interface, everything is locked into a full-screen dock. Resize the
and never crashes. And a new bin layout type called Freeform has host panel, as it is called, and everything resizes. It is simplified,
been introduced, which is terrifically flexible, and unique among more for new users. For power users however, the whole single
editing systems. But that isn’t what I wanted to tell you… dock can be broken up to individual components, like the current
Media Composer.
There were several spaces at Avid’s office where Media Composer
was being demonstrated. It was, however, a bit difficult to get a lot
of information because the place was so crowded. But it was a very
good opportunity to run into fellow editors and post people.
The new Media Composer, during these demos, had a tendency
to crash. Presumably now all of the bugs will be worked out.
(Um, presumably. Right Avid?)
Adobe has made great strides in fashioning Premiere Pro
Premiere Pro pancake timeline, not something new but I was unaware. for bigger things than just home videos. Currently I am editing
an Imax nature film called Back From the Brink. The story is
I wrote previously for CinemaEditor that Apple had apparently about three animal species that were endangered, but concerned
given up on making computers for professional editors (Miller, H.B. scientists and researchers discovered what was necessary to
{2017} “Is Apple Inc. Just a Phone Company?” CinemaEditor, ensure their survival. Steps were then taken to successfully save
Quarter 1, Vol. 67, 16-17). My question: Was it time to invest these species, by rebalancing their environment.
14 CINEMAEDITOR QTR 3 / 2019 / VOL 69 Adobe Premiere Pro © 2019 Adobe. All rights reserved. Photo courtesy of Harry B. Miller III, ACE.thing I’ve ever used, including a refurbished/upgraded Mac Pro
‘cheese grater’ tower.
Realizing that I’m much too ingrained in the Apple ecosystem
to change editing workstations to a Windows PC (see the above
referenced CinemaEditor article), I decided that I’d give this Mini
a shot. And it’s a ‘mini.’ How much could it cost?
Well, once you ‘spec’ it up, it costs a lot. The upgraded
Mac mini with 6-core i7 CPU, 32 GB RAM and 1TB SSD runs
around $2900. Then you realize it has lots of connectors, but
none connect to any device you own. I needed to invest in $100
worth of adapters (Thunderbolt 2 to 3). And there are so many
devices you need to plug in, such as keyboard, mouse, monitor,
Avid’s new interface hard drives, you then need to invest in a $300 multi-port dock,
which adds several more USB 3, USB 2, HDMI, etc. connections.
The movie was shot with a Red camera, at 5K and 8K. The post- The additional components needed to make it work become part
production company managing the project, RPG Productions (run of the ‘Apple tax,’ the extra you have to spend to be in the Apple
by Rick Gordon), gathered all the media from the many hard universe of products. At least it is less than the newly-announced
drive sources and transcoded everything from Red files to ProRes Mac Pro ($6000 to start).
422 HQ, 1920 x 1080. There is so much footage, it is a nature This was just going to be a trial. Apple allows a 14-day window
doc after all, that the transcoded media takes more than seven to return a product if you’re unhappy. I tried an iPad Pro. It didn’t
terabytes! Fortunately, the director/DP has a pretty good memory work for me (too big), and it was returned without a problem.
for what he shot. And he made the initial assembly pass with The test was to see if the Mac mini would truly be a performance
his favorite material. improvement over my current home editing system.
Because of the solid organization and preparation by assistant I tested the mini with Media Composer for transcoding clips,
David Palmeri, the project has not crashed. At all. Not once. rendering a timeline with VFX plugins and timecode, and Adobe
(I can’t get through a single day on other unnamed editing systems Media Encoder for an export.
and say that same thing.) Rendering a timeline: the mini was twice as fast as the Mac
The great thing about Premiere Pro is if you had any experience Pro. Transcode a 3-minute clip: the mini was twice as fast the
working on Final Cut Pro 7, you’ll feel right at home. And you MacBook Pro (2014). Export Media Encoder: Laptop 34:05, Mac
can easily set up the keyboard to mimic your Avid (or FCP X) Pro 38:00, Mac mini 25:00
keyboard. It is fast and flexible. While the timeline is playing you In every process I tried that is part of my editing workflow, the
can even do minor editing without stopping, like Pro Tools. And Mac mini was significantly faster than my other two computers.
the new features Adobe has added (viewing multiple timelines at Another great thing about the Mac mini is macOS
once, bin locking, Bezier audio keyframes, Freeform bin view) Mojave’s dark mode. It is DARK. But very attractive, and semi-
make it very usable. translucent. Some windows, like the Info window, are so dark they
The downside is the current version of Premiere Pro (13.1.2) are almost readable.
and Media Encoder (13.1) can output incorrect timecode. The fix, The one area where the mini does not excel is using an eGPU
until Adobe makes a software correction, is to turn the Mercury (external graphics card) with Media Composer. Michael Kammes
Playback Engine to ‘Software Only’ in both programs. Thanks to reviewed a Mac mini with an eGPU on his podcast, “5 Things”
Mike Kanfer of Adobe for that information. (https://5thingsseries.com), and found that Media Composer
But what I really wanted to tell you about is this: does not take advantage, while Premiere Pro does. But where is
the graphics card important? Mostly for computer displays and
running intense graphic games.
Where Adobe fails is that editing projects aren’t always
backward compatible. You can open an Avid sequence with a
few exceptions in every version of Media Composer. A Premiere
project often can’t be opened in the next previous version
of the software. And this timecode issue could be serious if not
quickly addressed.
The Mac Mini. And I don’t know of a shared/networked project on Adobe that
has worked well. Not as seamlessly as Media Composer projects
The Mac mini. It’s so small and cute! And dark. It literally work. There may be, I just haven’t heard of one.
disappears on the unlit shelf on my desk. And outperforms any- And that’s what I wanted to tell you!
Avid interface © 2019 Avid Technology, Inc. Mac Mini © 2019 Apple Inc. All rights reserved. Photo courtesy of Harry B. Miller III, ACE. CINEMAEDITOR QTR 3 / 2019 / VOL 69 15Examining
India’s
Expansive
Film
Industry
BY EDGAR BURCKSEN, ACE
A
bout 10 years ago I was invited by Indian production Tamil language in the South Indian city of Chennai (about 140
company Phat Phish to come to Mumbai to help them productions a year). Films in Kannada language, produced from
prepare Quick Gun Murugun: Misadventures of an Indian South Indian city of Bengaluru and in Malayalam, produced from
Cowboy, a feature that was already released in India, for the the state of Kerala also contribute roughly 250 films each year.
American market. Not knowing more than that India had a huge The rest come from Marathi, Bengali, Punjabi, Oriya, Gujarati
film industry and that Mumbai was one of the major centers of and Bhojpuri language regions. Some of the South Indian films
production, I was amazed by the sophistication. My editing room are dubbed and crisscross from one language territory to the other
had a fully-equipped Avid Media Composer with all the bells and while some are specially dubbed in Hindi for television. It makes
whistles. Because time was of the essence I did not have a lot for a very diverse creative output that is, according to Ganti, self-
of contact with editors in Mumbai. More recently, as I’ve been sustaining and fascinating.
working to expand ACE’s international reach, I got in touch with There are no honorary societies in India, such as ACE.
Mumbai/Hyderabad-based editor Kiran Ganti for an update on In Mumbai, there is an editors organization called the Association
this industry from the editors’ point of view. of Film & Video Editors (AFE). Each of the South Indian film
Some history: The first feature-length Indian silent film, industries also has an editors association. AFE is also a part of
Raja Harishchandra, was produced in 1913 and was directed the All India Film Federation that represents 24 other arts and
and edited by Dadasaheb Phalke, who is known as the father of crafts of the industry. The AFE has about 1600 members of
the country’s film business. The most prestigious government- which half are still active in the editing rooms across films, TV,
presented lifetime-achievement film award in India is named after documentaries and other types of content. Ganti explains that the
him. It’s presented every year on May 3, the original release date AFE is strictly a union that solely deals with labor/organizational
of Raja Harishchandra. related issues and not with the technical/creative part of editing.
Roughly 900 films are released theatrically every year in He adds that there are no other organizations, professional or
India. The industry is based in three major production centers: otherwise, that give a platform to editors who want to discuss,
Mumbai for the Hindi language (about 140 productions last year), learn or study the craft and art of editing and in that respect,
Hyderabad in Southern India for the Telugu language (185 films an ACE International Affiliate membership chapter in India could
per year, including 50 films dubbed from other languages) and the fill a large void.
16 CINEMAEDITOR QTR 3 / 2019 / VOL 69 Above: Mumbai, India. Photo by TkKurikawa.Ganti also conducts classes at Ramoji Academy of Film and ‘unblimped’ film cameras and were dubbed. (A blimp is a housing
Television, situated in the world’s largest film studio, Ramoji Film that suppresses the loud sound of the camera, but makes cameras
City, Hyderabad. On the professional front, he feels there is a unwieldy and so, in India, filmmakers used unblimped cameras
lack of space for sharing of knowledge about editing and a cross- and post synced the dialogue.) Things changed in the Hindi film
country sharing of expertise/experience – and that this is the need industry in early 2000 when sync sound picked up momentum,
of the hour. He says he is convinced about this because he once especially after the success of the Academy Award-nominated
worked with Walter Murch, ACE, and recognizes the immense Hindi film, Lagaan (2001), that pioneered sync-sound shooting.
value that he got from the experience. He also shares that two of But when the Arri Alexa, Red and later the Canon 5D and 7D
India’s biggest Hindi films from last year – Sanju and Padmaavat cameras were introduced, everything changed. No more ‘heartbeat’
– were directed by Rajkumar Hirani and Sanjay Leela Bhansali, on set because these cameras were silent and no more shooting
respectively, who have also worked as editors. discipline because the recording material is so cheap. A majority
The creative recognition of editing is only acknowledged at of the films made in Hindi now are shot sync sound though that
award ceremonies that are organized and sponsored by the TV is not the case in South India. Ganti reports he is working on a
networks of each language region. The Indian government also motion picture in the Telugu language – Phalana Abbayi, Phalana
presents yearly awards at the National Film Awards ceremony Ammayi (PAPA), directed by Srinivas Avasarala and produced by
by the Directorate of Film Festivals, an organization set up by People Media Factory – that is shot with sync sound, which he
the Ministry of Information and Broadcasting. The ceremony believes is a first in the region on a medium-budget film. This, he
is divided in two categories: feature film and non-feature film; hopes, will help change moviemaking in his region.
consequently there are two awards for editing. Ganti likens the On the distribution side, India has around 10,000 theaters;
prestige of this ceremony in India to the Academy Awards®. a majority of them have single screens. The digital revolution also
Historically, due to technical, logistical and aesthetic reasons, brought new forms of distribution, and streamers like Netflix and
the majority of the films produced in India were all shot with Amazon Prime started to gobble up content. A movie acquired by
Amazon is on its streaming platform six weeks after its theatrical
premiere. Amazon also started to invest in and produce its own
content in India. There are also Indian streaming platforms like
Zee5, Hotstar, Jio, SonyLIV, etc, which are making original
content. Considering India has 370 million smartphone users,
this isn’t surprising.
The reach of Indian films around the world is extraordinary
because of the huge number of expats that are living in the U.K.,
U.S., Canada, Australia and the Middle East. Because of this, the
Indian film industry is shooting a lot of content in these countries
and regions that not only cater to the expat community but also to
the domestic market. On an average, 25 percent of an Indian film’s
revenue can be recovered from these markets. There’s also more
crossover to more traditional film markets in Europe and the U.S.
For instance the two-part magnum opus Telugu feature Bahubali:
The Beginning (2015) and Bahubali 2: The Conclusion, (2017),
edited by Venkateswara Rao Kotagiri on an Avid, was a very
successful crossover, especially in the U.K., Europe and China.
Presumably, Indian films shot in expat countries will find a
broader audience, with Amazon and Netflix hungry for more
original content for their global audience. The Telugu film that
Ganti is currently editing is a new-age romantic film of which
more than 50 percent was shot in the U.S.
Ganti had one more thing he wanted to share about the Indian
film industry in Mumbai: They hate the ‘Bollywood’ moniker.
Saying that ‘Bollywood’ was started as a joke many years back
but it stuck, he says his industry thinks that the derivative of
Hollywood denigrates the importance and creative uniqueness
of their film industry. Says Kiran, “Every year, more films are
produced in Mumbai than in Hollywood. ‘To be, or not to be’ is no
longer the question. ‘What’s in a name?’ Quite a lot.”
18 CINEMAEDITOR QTR 3 / 2019 / VOL 69 Above: Editor Kiran Ganti. Photos courtesy of Kiran Ganti.T E C H N I C A L S O L U T I O N S & I N T E G R AT I O N F O R T E C H N I C A L P R O B L E M S
Feature Film or Television
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Reference Monitor in the Business
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Available atBlack Mirror:
Bandersnatch
Tony Kearns solves the puzzle of
Netflix interactive drama
BY ADRIAN PENNINGTON
B
lack Mirror: Bandersnatch has been heralded as a land- of his own devising, graphics visually representing all the
mark achievement not just for Netflix but for the future of interconnected paths and Twine, a scripting software that allows
interactive programming for its fun and challenging ability interactive options to be embedded as links.
to include the audience in the story. “It looks like a normal script but when you click on the options
In the series, viewers follow a young programmer, Stefan the page will move forward to that branch of the narrative. All
(Fionn Whitehead), and are given choices to make as he proceeds of this scared me a little. It was dauntingly complex but after I
to adapt a fantasy novel into a video game. broke it down into sections and spent time getting my head round
Not for nothing did series creator and show writer Charlie it I had no real concerns. My feeling was that everyone else had
Brooker set this in an Orwellian 1984. But with five possible done their homework and Charlie had written a brilliant script so
endings and seemingly unlimited unique permutations of the story it wasn’t difficult to resolve any questions I had.”
according to Netflix, imagine the byzantine task of editing it all. That said, it was only once footage came in and Kearns could
Tony Kearns was invited to the project by director David Slade stress test the assembly that it was possible to assess where there
with whom Kearns had worked on Black Mirror, series 4 episode might be issues.
5, “Metalhead” and decades previously on music videos including “The first obvious point to make is that the story does not travel
Muse’s “Bliss,” Stereophonics’ “Mr. Writer,” and Tori Amos’ in a smooth arc. It is interrupted by choice points. It made sense
“Strange Little Girl.” to first assemble the arcs in the sections between choice points of
Since their early collaborations Kearns had graduated to feature which some are quite long and fluid. Then we were also able to
film (Cardboard Gangsters, Let Us Prey) and acknowledges he look at various narrative lines using Branch Manager to view the
was less well-known for TV drama. film on our laptops.”
“My experience on ‘Metalhead’ with David, Charlie and (series This software, specially written in-house by Netflix, enabled
co-creator) Annabel Jones worked out really well and I think they the import of segments which, when coded, would play back as a
trusted that I could do it.” facsimile (or proxy) of the finished piece.
When Kearns boarded, the treatment and script were already “It would start from the beginning and you’d come to a choice
advanced. “As far as I was concerned it was always an interactive point, click one and proceed down that route,” Kearns explains.
film but the challenge was to create a satisfying single story that “It was very complex and very essential. We wouldn’t have been able
would work without any viewer interaction and to deliver on all to make the show without it since it simulated the viewing exper-
the other narrative arcs.” ience rather than us trying to assemble a timeline in Premiere Pro.”
Kearns first task was to go through the script and break it down Also essential was assistant editor John Weeks who, as fate
into constituent parts. This was accomplished using spreadsheets would have it, had prior experience with computer programming.
20 CINEMAEDITOR QTR 3 / 2019 / VOL 69 Above: Fionn Whitehead. Photo by Stuart Hendry. ©Netflix.“It was one of those fortuitous occurrences but not only is
John an excellent assistant editor he has such a wealth of experi-
ence in coding. It was a bit of a rod for his own back since he was
doing the job of two people and, like the rest of us, he was a bit
frazzled by the end.”
Weeks’ role shouldn’t be underestimated. Indeed, Kearns
recommends that anyone embarking on an interactive show – of
which there will no doubt be many more – should assign someone
with a knowledge of coding to the edit suite.
Each viewer choice led down a rabbit hole of different narrative
tracks with a version of a scene that may differ from another only
in one crucial aspect.
“The scenes would be generally shot the same way but the
performances would be different,” explains Kearns. “A line or
two of dialogue might change or there would be another twist
dependent on the viewer choice. For example, the first viewer
choice asked them to pick a brand of cereal so we’d insert a
commercial on the TV screen in a later scene for either Frosties
or Sugar Puffs.”
The soundtrack to the drama is also a viewer choice on a couple
of occasions. “The first music choice concerns what Stefan should
play on his cassette recorder and in both cases the cut’s exactly
the same but in a later choice choosing album tracks between
‘Tangerine Dream’ and ‘The Bermuda Triangle’ we had to retweak
a little to ensure the cuts of the scene hit different musical beats.”
The script was 157 pages (usually the hour-long show runs 65
pages) with 250 segments generating nearly five hours of footage. only had one short segment where we had to extend duration due
“Each segment had a four-character alphanumeric number. to this requirement,” Kearns says.
The script was divided into eight sections and then variations on that “Charlie wanted to avoid having everything stop while this
segment denoted by letter and number, for example 7A2B. This was was going on so he wrote dialogue and action to go under the
translated into the shooting script then managed by script supervisor choice points so it’s a visually continuous process. It was my job
Marilyn Kirby along with first assistant director Jay Arthur. to work out how to not interfere too much with the choice points
“Marilyn was our linchpin on set and everyone’s oracle when and also ensure the last shot of that segment cut well with [the]
it came to knowing what we were going to do next. Both she and first of the next segment, whichever was chosen.”
Jay did an amazing job marshalling the actors and the crew and Along the way, some choice points were dropped in order
keeping them on the right track.” to make the whole story more fluid. Some of these occurred in
The choice points themselves were around 15 seconds in dur- scenes set in the office but none of the choices were deemed too
ation with additional time on either side of the choice allowed for important structurally by the team.
the caching or buffering needed for each choice point. “In reality we Kearns says, “A lot of the time was spent viewing all the
multiple narrative arcs, assessing, making structural changes but
once in the swing of it I was able to intuitively make decisions
about what would work.”
A personal favorite scene is one during which Stefan drops
acid in Colin’s (a video game developer played by Will Poulter)
flat. “It’s the core of the film really since Colin rants to Stefan –
but also to the audience – about free will and having personal
choice at the same time we realize that Stefan has no control
over his fate since that is in the audience’s hands. Will Poulter’s
performance is very compelling and it was a pleasure to edit.”
Aside from requiring a person with coding experience on your
team, Kearns says his advice for preparing to edit nonlinear shows
is to be “well organized and to have good communication so you
can keep control of what’s [happening] on set. Understand that the
review process will be a long process and that you have to think in
several dimensions. The trick is not to get lost.”
Left: Editor Tony Kearns. Photo courtesy of Tony Kearns; Fionn Whitehead. Photo by Stuart Hendry. CINEMAEDITOR QTR 3 / 2019 / VOL 69 21
Right top (L-R): Fionn Whitehead, Will Poulter, Asim Chaudhry. Right bottom: Fionn Whitehead. Photos courtesy of Netflix. ©Netflix.Game of Thrones
Tim Porter, ACE, pours his proud and battle-hardened
soul into episode 3 of the series’ final season
BY ADRIAN PENNINGTON
T
he final season of HBO’s sword-and-sorcery epic was The season’s other editors, and also Thrones stalwarts, are Crispin
always going to end in tears. If not for some of its char- Green and Katie Weiland, ACE, with whom Porter shared cuts.
acters fated to be given the chop, then for the editing team “Katie, Crispin and I are always incredibly busy on the show,
which has carried the show’s battle-fatigued heroes and villains so we don’t religiously share our work, or ask each other’s opinions,
over many years. but I will definitely look to show the episode once it’s fully assembled
Tim Porter, ACE, is one of those. He joined in season 4 and and get feedback from them. They know the show and their notes
edited 11 episodes, of which three were nominated for Emmys® can be invaluable.”
and Eddies.“Thrones has been a huge part of my life for the last While there have been lengthy battle scenes in the series
seven years, so heading into season 8 definitely felt like the end before, none matched the scale of “The Long Night,” which is one
of an era,” he says. continuous sequence from beginning to end.
He returned to the Belfast shoot for two of the final season “There wasn’t any build-up within the episode before we
episodes: 803 “The Long Night” and 805 “The Bells,” arriving get to the battle, as with the other battles I’d cut,” Porter says.
in January 2018 for the edit, although the crew had already been “Creatively I was most interested in constructing this singular
filming since October 2017 on episodes 1 and 2. action sequence, as I’d not had the opportunity to do one over
“In that week before your episodes begin filming, I’ll set the such a sustained period, as a standalone film. The sparseness of
cutting room up with the assistant editor, and reread the script,” dialogue in the episode was also extremely attractive, constructing
Porter explains. “An episode like ‘The Long Night’ will all the narrative mainly through action is a rare treat.”
have been previs’d. I’ll familiarize myself with that. It’s a great He enthuses, “Navigating and synthesizing the characters’
shorthand into what’s about to be filmed, as I’ve not been heavily journeys across the episode was something that really appealed
involved in pre-production.” to me. Rhythmically, it was challenging to decide when to have
Unlike other seasons he’s worked on, there was no cross shooting tension, where to have hope, when to feel all is lost.”
of episodes 803 and 805. “The Long Night” was shot from January With a considerable quota of visual effects for this episode,
to April with delivery of the director’s cut in May. Filming 805 Porter needed to turn over shots very quickly, particularly plates
followed for delivery of the director’s cut in September. with a dragon in, or shots that needed tracking for motion capture.
These episodes were directed by Miguel Sapochnik with “Miguel and I met every Saturday to watch cuts. We would
whom Porter had collaborated on the show since 2014. also make time for VFX, which would have sent a list of shots
“I was hugely excited by the challenge of doing two large-scale that they needed us to pick plates for. We turned stuff over to them
action episodes to finish off my time at Game of Thrones,” Porter from the very first week of filming. For our offline VFX temps we
says. “Teaming back up with Miguel, felt like we were getting the would get the greenscreen elements pulled from the previs and
band back together. I had Meredith Leece as my assembly editor use those to temp comps into our cut. Richard [Denbigh] would
[Porter’s assistant on seasons 6 and 7] and Richard Denbigh [who’d do all the temp VFX in Avid.”
worked with Porter on The Crown] was hired as my assistant. It was It was also a challenge to track the storylines and characters
great to be reunited with the editorial team headed by producer Greg in an ensemble sequence such as this. “When you have lots of
Spence, with Alan Freir and Ide O’Rourke.” characters with lots of events happening to them in different
22 CINEMAEDITOR QTR 3 / 2019 / VOL 69 Above: The cast of Game of Thrones. Photo by Helen Sloan/HBO. ©2019 Home Box Office. All rights reserved.You can also read
