Some of these questions are probably unanswerable at this time, but here goes nothing:
In an interview regarding 28 Days Later, Danny Boyle fondly mentions your technique of editing and compressing time. Will we be seeing any of this in the final product of Sunshine?
Have you acquired a new editing technique while editing this film? If so, could you explain it to us, including why you decided to incorporate it into the film?
What specific editing techniques have you used to heighten the various emotions found in Sunshine?
How do you decide when music is appropriate in certain scenes? Do you have a set of rules or does it come to you naturally?
I read in an article that Sunshine is being shot with a mix of different resolutions; action in outer space is shot in high-quality while action inside the spaceship is shot in lower-quality. If this is indeed true, did you encounter any problems editing either formats? Did you learn anything from using both of these formats?
---questions which could stretch the limit (or could be answered at a later time)---
Which scene was the most difficult to edit overall?
Which scene is your favorite as an editor?
"Ah! Zero gravity is cool! G Force on you is like..." "Really? Ah!"
Post by sunshinedna on Feb 28, 2007 17:04:10 GMT -5
I will try and get this up on SunshineDNA tomorrow (I've got a v early start with my other job tomorrow, then busy all day away from my computer! Yikes! ), but thought I'd put it up here first.
Did working on Sunshine leave an impression on you, as a person and/ or as a crew member? - chero Chris : It was great to work on such a big ambitious film and I think we've achieved everything we set out to. The team I had were so supportive on every level and the hours we put in were exceptional and hopefully the end result is worth it .
How does your work on Sunshine compare to your previous (and current [if you're allowed to disclose it]) projects? Was it the most difficult, educational, etc? - chero Chris: My work is different on this film as it had to encompass many styles which are necessary to give the film its pace and variety. My current project is '28 Weeks Later' the sequel to '28 Days Later' which I cut 4 years ago !
How long did it take to edit from start to finish? - dino Chris: Embarrassingly, from start to finish, 14 months...we hope we've got it right.
In an interview regarding 28 Days Later, Danny Boyle fondly mentions your technique of editing and compressing time. Will we be seeing any of this in the final product of Sunshine? -chero Chris: There are scenes where we have seamless jump cutting to increase pace and generally take risks with the film which are very exciting.
Which scene was the most difficult to edit overall? -chero Chris: the last reel of the film was the toughest as the concept was continually changing and we had a lot of reshoots which were dumped and resurrected quite a few times.
What was the most challenging aspect of the project? -dino Chris: Trying to keep a handle on everything as things were constantly evolving particuarly the visual fx and the incredibly long hours.
How do you decide when music is appropriate in certain scenes? Do you have a set of rules or does it come to you naturally? -chero Chris: I set the template for the music in the film and it's a great part of the job, but it entails spending alot of time listening to hundreds of tracks tryng to find the right tone for certain scenes.
Was Sunshine shot entirely on film, or were there different formats involved? If so, how did you work with these formats in editing? And, out of curiosity, what program did you use? -- thisisliz Chris: We shot mainly on anamorphic and super 35, and we just blend them together. We used the Lightworks Touch system for the project and I must say, it was brilliant !
Were there any alternative endings made? - dino Chris: no alternative endings...we always had a great last scene.
Is there a 'Directors Cut' coming out at any point? - dino Chris: No