#david scheunemann

[nofatclips]

Atomic Blonde (David Leitch, 2017)

[cjp-film]

Set Décor Magazine

Summer 2018

Film Decor Feature: Deadpool 2

Production Designer: David Scheunemann

Set Decorator: Sandy Walker

Key words: Comic book, Stylised, Pop culture

Themes: Loss, Angst, Isolation, Separation from society, Time travel

Genres: Dark Comedy, Sci fi, Action

Notes on Production design: As this was a sequel, a lot of the locations were the same as the first film so the sets could be reused alongside props and important items. They kept in mind that the set can’t be too distracting and take away the attention from the actor. However the colour palette for the loft apartment was very colourful but it fit in with the themes of the film and the personality of the character. They put themselves in the shoes of the character and set his living area how someone like Deadpool would. This does include some Easter eggs.

I like the thought put into the futuristic apartment. The juxtaposition of the technology and the organic furniture represents himself as a half human half robot being.

The article outlines a moment from the production where the director requested another prop the day before a particular set was to be shot. I think its interesting how quickly something can be put together, especially on such short notice, and still look like it belongs. So much could have gone wrong!

It also talks about the effort that went into creating a bar back room from scratch. It was a location made for a character who deals weapons and electronics so very specific in style. It was dismantled and re created when needing to be reshot.

The article really proves how much time and effort it takes to decorate a set in accordance with characters, themes and genres. Each detail is important to how the film looks, whether it is relevant to the story or not.

[sesiondemadrugada]

Deadpool 2 (David Leitch, 2018).

[mellowyknox]

"Atomic Blonde” Trailer

Director: David Leitch Cinematographer: Jonathan Sela Editor: Elísabet Ronaldsdóttir Production Designer: David Scheunemann

Post: Chimney Berlin

Cast: Charlize Theron, James McAvoy, John Goodman, Til Schweiger, Eddie Marsan, Sofia Boutella, Toby Jones

Based: Antony Johnston’s Graphic Novel “The Coldest City“

Screens:

Year: 2017

[bite-management-blog]

Deadpool is back! Check out this great short film for Deadpool 2 by our Production Designer David Scheunemann.

production company: Donners´ Company

[thecraggus]

Deadpool 2 (2018) Review

Deadpool 2 (2018) doesn't just break the fourth wall, it demolishes it. #Review

Although I’m a little disappointed that they didn’t just stick with “Untitled Deadpool Sequel” as the official title, “Deadpool 2” brings the Merc with the mouth back, and he’s bolder than ever as he looks to avoid the pitfalls of the ‘difficult second album’.

When Wade Wilson (Ryan Reynolds)’s cavalier attitude ends up costing him everything he cares about, it sends him into a downward spiral of…

[dizimex]

Shaw And Hobbs (2019) izle

https://dizimex.net/show-and-hobbs-2019-turkce-izle/

Yıl: 2019 Orjinal Adı Shaw And Hobbs 2019 Filmi izle Türkçe Dublaj Tür: Aksiyon, Macera Ülke: İngiltere , ABD Yönetmen: David Litch Senaryo: Chris Morgan , Drew Pierce , Gary Scott Thompson Üretici: Hiram Garcia , Dwayne Johnson , Chris Morgan Operatör: Jonathan Sela Besteci: Tyler Bates Sanatçı: David Scheunemann , David Allday , Will Kubro Aktörler: Dwayne Johnson , Jason State , İdris Elba , Vanessa Kirby , Helen Mirren , Asa Gonzalez , Eddie Marsan , Eliana Sua , Cliff Curtis , Lori Peleniz Tuisano Kalite: TS Çeviri: Çoğaltılmış Süre: 02:08:57 Film Arama Değerlendirmesi: 6.8 (3.727) IMDb Değerlendirmesi: 7.2 (8,075) Luke Hobbs, Amerikan seçkin bir özel ajanıdır, rahat spor kıyafetleri, büyük pikapları ve sağlıklı beslenmeyi sever. Deckard Shaw - Eski bir istihbarat subayı olan İngiliz dostum pahalı kıyafetleri, spor arabaları ve uzun bacaklı güzellikleri tercih ediyor. Bu ikisi birbirinden nefret ediyor. Fakat eğer biri ailelerini tehdit ederse, bir şey yapmaya hazırdır. Takım olarak çalışmak için bile.

[awardseasonblog]

Annunciate le #nomination degli attesi Art Directors Guild Awards (#ADG), i riconoscimenti con cui annualmente il sindacato degli scenografi sceglie le migliori prestazioni professionali in ambito cinematografico e televisivo. I loro verdetti sono considerati un tassello chiave nelle dinamiche dell’Awards Season, perché consentono di prevedere il successivo vincitore agli Oscar nella categoria miglior scenografia. PERIOD FEATURE FILM “All Quiet on the Western Front�� (Production Designer: Christian M. Goldbeck) “Babylon” (Production Designer: Florencia Martin) “Elvis” (Production Designers: Catherine Martin, Karen Murphy “The Fabelmans” (Production Designer: Rick Carter) “White Noise” (Production Designer: Jess Gonchor) FANTASY FEATURE FILM “Avatar: The Way of Water” (Production Designers: Dylan Cole, Ben Procter) “The Batman” (Production Designer: James Chinlund) “Black Panther: Wakanda Forever” (Production Designer: Hannah Beachler) “Everything Everywhere All at Once” (Production Designer: Jason Kisvarday) “Nope” (Production Designer: Ruth De Jong) CONTEMPORARY FEATURE FILM “Bardo, False Chronicle of a Handful of Truths” (Production Designer: Eugenio Caballero) “Bullet Train” (Production Designer: David Scheunemann) “Glass Onion: A Knives Out Mystery” (Production Designer: Rick Heinrichs) “Tár” (Production Designer: Marco Bittner Rosser) “Top Gun: Maverick” (Production Designer: Jeremy Hindle) ANIMATED FEATURE FILM “Guillermo del Toro’s Pinocchio” (Production Designers: Guy Davis, Curt Enderle) “Lightyear” (Production Designer: Tim Evatt) “Marcel the Shell with Shoes On” (Production Designer: Liz Toonkel) “Puss In Boots: The Last Wish” (Production Designer: Nate Wragg) “Turning Red” (Production Designer: Rona Liu ) #BestProductionDesign #MigliorScenografia #Awards #Movies #StagionedeiPremi #AwardsRace #OscarsRace #RoadtoOscar https://www.instagram.com/p/CnMsnkkMd6Y/?igshid=NGJjMDIxMWI=

[kristenswig]

Best Production Design 2017

Winner:

Blade Runner 2049 - Dennis Gassner

Nominees:

Atomic Blonde - David Scheunemann A Cure for Wellness - Eve Stewart Get Out - Rusty Smith mother! - Gabriel Messina Wonderstruck - Mark Friedberg

[iffltd]

                                                  s  t  a  r  r  i  n  g

                                                 Charlize  Theron    

      John  Goodman   James  MacAvoy    Sofia  Boutella    Toby  Jones

original music by Tyler Bates                    music supervisor John Houlihan    director of photography Jonathan Sela    editor Elisabet Ronaldscoditir    production designer David Scheunemann    casting  Zsolt Csutak   Marisoi Roncali   Mary Vernieu   art director Zsuzsa Kismarty-Lechner  Tibor Lazar produced by Peter Scherwin and Charlize Theron      screenplay by Kurt Johnstad     based on the ONI graphic novel series “The Coldest City” written by Antony Johnston illustrated by Sam Hart   directed by  David Leitch    

music includes: “Cat People (Putting Out Fire)” and “Moorage Daydream” - David Bowie,  “Major Tom (Vollig Losgelost)” - Peter Schilling, “Blue Monday” - Health,  “ “I Ran (So Far Away)” - Flock of Seagulls,  “99 Luftballons” - Nena, “Father Figure” - George Michael,  “Der Kommissar” - After the Fire,  “London Calling” - The Clash,  “Under Pressure” - David Bowie with Freddie Mercury and Queen,  “Personal Jesus” and “Behind the Wheel”   - Depeche Mode,  “Voices Carry” - Til Tuesday, “Stigmata” - Ministry,  “Just Like Heaven” - The Cure,  “Hungry Like the Wolf” - Duran Duran, “The Politics of Dancing” - Re-Flex,  “Cities in the Dust” - Siouxsie and the Banshees, “One Thing Leads to Another” - The Fixx,  “Hey, Bulldog” - The Beatles, “Sweet Dreams (Are Made of These” - The Eurythmics,  “Der Kommissar” - Falco,”The Killing Moon” -  Echo and the Bunneymen

version 2 (expanded)

[ljones41]

"THE THREE MUSKETEERS" (2011) Review

"THE THREE MUSKETEERS" (2011) Review Recently, I became aware of the BBC series called "THE MUSKETEERS" and became an instant fan. Due to my renewed interest in Alexandre Dumas père's work, I decided to focus my attention on 2011's "THE THREE MUSKETEERS", the most recent adaptation of the author's 1845 novel. 

Produced and directed by Paul W.S. Anderson, this cinematic version of Dumas père's novel, proved to be a different kettle of fish. Yes, screenwriters Andrew Davies and Alex Litvak managed to adhere to some aspects of the 1845 novel. The movie closely followed d'Artagnan's first meeting with his future three friends - Athos, Aramis and Porthos - along with Captain Comte de Rochefort and Milady de Winter. The rivalry between the Musketeers and Cardinal Richelieu's guard - led by Rochefort - remains intact. "THE THREE MUSKETEERS" also included a conspiracy created by Richelieu that centered around Queen Anne, Britain's Duke of Buckingham and the former's diamond necklace given to her by King Louis XIII. But Davies and Litvak created changes to Dumas' story. One, Milady de Winter begins the story working with the three musketeers to steal airship blueprints created by Leonardo da Vinci. In this scenario, Milady and Athos are long time lovers and not a married couple. Their antipathy begins when Milady betray her compatriots and gives the plans to Britain's Duke of Buckingham. Her betrayal leads to the disbandment of the Musketeers. So, when d'Artagnan arrives in Paris to join the military unit, he is a year too late. Also, the Duke of Buckingham is portrayed more as a villain, since he is not The Constance Bonacieux is not only single in this story, but also one of the Queen's ladies-in-waiting; instead of married and a royal seamstress. Also, there is no real affair between Queen Anne and Buckingham. But Cardinal Richelieu decides to create false rumors using the Queen's diamond necklace and false love letters in order to discredit her. This would lead to Anne's execution, a war against Britain and a demand by the people that a more experienced leader - namely Richelieu himself - would rule France. Alas, thanks to Constance, d'Artagnan and the Musketeers step up to save the Queen's reputation and ruin Richelieu's plans. It would be difficult for me to deny that "THE THREE MUSKETEERS" is a beautiful looking film. Germany served as 17th century France and Great Britain in this film and Glen MacPherson really did justice to the shooting locations, thanks to his beautifully sharp and colorful photography. MacPherson's photography also did justice to Paul D. Austerberry's production designs, whose re-creations of 17th century France and England struck me as spot on. Both MacPherson and Austerberry's work benefited from Philippe Turlure's set decorations and the art direction team of Nigel Churcher, Hucky Hornberger and David Scheunemann. But what really dazzled me about "THE THREE MUSKETEERS" were Pierre-Yves Gayraud's s costume designs. Personally, I found them worthy of an Oscar nomination. Below are three images just to prove my point:

There are aspects of "THE THREE MUSKETEERS" that did not exactly impress me. First of all, the chemistry between the four leads seemed a bit off. One might blame Logan Lerman, who was the only American in the team. But I had no problems with his chemistry with both Matthew MacFadyen and Ray Stevenson. And Luke Evans had a nice chemistry with both MacFadyen and Stevenson, despite his subdued take on his role. And I cannot blame MacFadyen, who seemed to be the odd man out as a screen swashbuckler. I am not saying that all four men - Lerman, MacFadyen, Evans and Stevenson - had no chemistry whatsoever. There was some inclination of a screen chemistry. But . . . their chemistry as the four musketeers never struck me as dynamic as in other versions I have seen. Another major problem I had with the movie proved to be Davies and Litvak's re-writing of the Milady de Winter character. I had no problem with Milady starting the movie as colleague of Athos, Aramis and Porthos. I had no problem with her being Athos' lover, instead of his estranged spouse. I did have a problem with Milady being written as some kind of action woman. Many of her scenes featured actress Milla Jovovich engaged in some acrobatic stunt at a great height. I understand why. Both Jovovich and Anderson (who are married, by the way) are known for the "RESIDENT EVIL" movies, in which the actress had starred as the main protagonist. For some reason, the couple and the two screenwriters seemed to believe it was necessary to transform Milady into a female action figure. In doing so, all four robbed the Milady of the subtle villainy that made her such a memorable character in the novel and in other adaptations. I almost got the impression that Anderson and the screenwriters did not believe Jovovich lacked the ability to portray a seductive and manipulative villainess. Yet, one scene between Jovovich and actor Christoph Waltz (who portrayed Cardinal Richelieu) made it clear to me that the actress could have been a very effective Milady de Winter without resorting to countless number of stunts and other action scenes. Hmmm . . . pity. Despite these misgivings, I must admit that I enjoyed "THE THREE MUSKETEERS". Much to my utter surprise. When I first saw the film, I was ready to reject it after the Venice sequence. The idea of Milady working with Athos, Aramis and Porthos on a mission in Venice was not how I recall previous adaptations of Dumas' novel. But I gave it a chance and decided to finish the film. And I enjoyed it. Actually, there were aspects of the movie that made it enjoyable for me. Aside from the movie's visual style and costumes, I enjoyed how Davies and and Litvak put a different spin on Dumas' story arc about Queen Anne's diamond necklace. I was also both surprised and impressed at how they utilized the heist movie trope in two major sequences - the opening scene in Venice and the Musketeers' attempt to get their hands on the diamonds, which were stolen by Milady and planted inside London's Tower of London. Davies and Litvak's screenplay displayed a nice sense of humor. This was apparent in the personalities of three major characters - Porthos (who has been the comic relief of nearly all versions of Dumas' tale), King Louis XIII and surprisingly, the Duke of Buckingham, along with d'Artagnan's first meetings with his future three friends. The movie also featured some excellent action sequences. My favorite include the Musketeers and d'Artagnan's fight against Rochefort and the Cardinal's guards, the four friends' heist of the diamond necklace from the Tower of London, and their final showdown against Rochefort and his men upon their return to Paris. This last sequence featured an outstanding duel between d'Artagnan and Rochefort that in my opinion, rivaled the duel between the two characters in 1974's "THE FOUR MUSKETEERS". I still stand by my belief that the chemistry between the four actors who portrayed the Musketeers and d'Artagnan was not as strong as it had been in other productions. But the movie did featured some solid performances from the four actors. Ray Stevenson displayed his usual talent for comedy in his performance as Porthos. Honestly, I think his comic skills are highly underrated. Luke Evans gave a decent performance as Aramis. However, I do wish he could have displayed a little more élan in his portrayal of the usually dashing womanizer. Matthew Macfadyen did a skillful job in portraying Athos' brooding nature and role as the group's leader. But I got the feeling that he was not the type of actor I would cast in a swashbuckling film. Of the four actors, he never struck me as the swashbuckling type. It is odd that I would say this about Macfadyen and not Logan Lerman, who portrayed d'Artagnan. But the thing about Lerman is although his looks strike me as mediocre and he seems to be the shortest of the four leads. Yet, once he opens his mouth and move, he becomes a bundle of energy with a good deal of style and panache. Curious. Despite my complaints by Anderson and the screenwriters' attempt to turn Milady de Winter into an action queen, I must say that I still managed to enjoy Milla Jovovich's performance. She is the only actress I know who conveyed the spy's seduction skills with a good deal of sly humor. Christoph Waltz did a solid job as the villainous Cardinal Richilieu. But I must admit, I did not find his performance particularly memorable or energetic. I can also say the same about Gabriella Wilde, who portrayed Constance Bonacieux. I hate to say this, but I found her performance somewhat wooden. On the other hand, Juno Temple gave a very charming performance as Queen Anne (formerly of Austria). Not only did she give a charming performance, she also conveyed a good deal of the Queen's strength of character. I really enjoyed Mads Mikkelsen's portrayal of Captain Rochefort. The Danish actor did an excellent job of conveying Rochefort's subtle menace and talent for intimidation. Orlando Bloom proved to be quite a surprise as the villainous Duke of Buckingham. He was very funny in a sly, yet theatrical way. James Corden also gave a funny performance as Planchet, the Musketeers' long suffering manservant. But the funniest performance came from Freddie Fox, who portrayed the rather young King Louis XIII. What can I say? He was hilarious in his portrayal of the King's insecure nature and lack of experience as a leader. In fact, I believe he gave the best performance in the movie. What else can I say about "THE THREE MUSKETEERS"? It is not particularly faithful to Alexandre Dumas père's novel. But to be honest, I do not really care. In my opinion, the movie's lack of adherence to the novel was not a weak point. The worst I can say about the movie is that the chemistry between the four actors portraying the Musketeers was not particularly strong. I did not care for the use of 17th century airships in this story. And I was not that impressed by the movie's tendency to portray Milady de Winter as an action figure. On the other hand, I still managed to enjoy the screenplay written by Andrew Davies and Alex Litvak, along with Paul W.S. Anderson's direction. And the movie also featured some strong performances - especially from Logan Lerman, Juno Temple, Orlando Bloom and Freddie Fox. In the end, I still enjoyed the film, despite my initial reservations.

[mrjohnangulo]

Links: Nominees for the 2019 Origins Awards, and Voting for the 2019 Deutscher Spielepreis

by W. Eric Martin

• The Academy of Adventure Gaming Arts and Design has announced the nominees for the 2019 Origins Awards within a variety of categories, with the winners of each category scheduled to be announced on June 15, 2019 during the 2019 Origins Game Fair. Attendees at the fair can try out the nominees in an area devoted to the nominated games, and they can cast ballots to determine a fan favorite winner in each category. Some of the nominee categories are: Board Games —Brass: Birmingham, by Gavan Brown, Matt Tolman, and Martin Wallace (Roxley) —Chronicles of Crime, by David Cicurel (Lucky Duck Games) —Cryptid, by Ruth Veevers and Hal Duncan (Osprey Games) —Everdell, by James A. Wilson (Starling Games) —Gizmos, by Phil Walker-Harding (CMON Limited) —Pulsar 2849, by Vladimír Suchý (Czech Games Edition) —Rising Sun, by Eric M. Lang (CMON Limited) —Root, by Cole Wehrle (Leder Games) —Space Base, by John D. Clair (Alderac Entertainment Group) Family Games —The Climbers, by Holger Lanz (Capstone Games) —Echidna Shuffle, by Kris Gould (Wattsalpoag Games) —The Mansky Caper, by Ken Franklin (Calliope Games) —Pantone: The Game, by Scott Rogers (Cryptozoic Entertainment —Spy Club, by Randy Hoyt and Jason D. Kingsley (Renegade Game Studios) —Strawberry Ninja, by Chris Castagnetto (Strawberry Studio) —Super Kitty Bug Slap, by Sam Mitschke and Randy Scheunemann (Steve Jackson Games) —The Tea Dragon Society Card Game, by Steve Ellis and Tyler Tinsley (Renegade Game Studios) —When I Dream, by Chris Darsalkis (Repos Production) Card Games —Anatomy Fluxx, by Andrew Looney (Looney Labs) —Choose Your Own Adventure: House of Danger, by Prospero Hall (Z-Man Games) —Dark Souls: The Card Game, by David Carl (Steamforged Games) —Get the MacGuffin, by Andrew Looney (Looney Labs) —Maiden's Quest, by Kenneth C. Shannon III (WizKids) —The Mind, by Wolfgang Warsch (Pandasaurus Games) —Villainous, by Prospero Hall (Ravensburger) Miniature Games —Fallout: Wasteland Warfare, by James Sheahan (Modiphius Entertainment) —Kill Team (Games Workshop) —Kings of War: Vanguard, by Matt Gilbert (Mantic Games) —Necromunda, by Andy Hoare (Games Workshop) —A Song of Ice and Fire: Tabletop Miniatures Game, by Michael Shinall and Eric M. Lang (CMON Limited) —Star Wars: Legion, by Alex Davy (Fantasy Flight Games) As with any set of award nominees, you can find oddities once you start looking at the lists in more detail. I'm not sure why Villainous qualifies as a card game, for example, whereas Space Base counts as a board game. Seems like they should both be in one category or the other together. Keyforge: Call of the Archons, by the way, was placed in the collectible games category, along with the X-Men Xavier's School expansion for HeroClix, the Dominaria expansion for Magic: The Gathering, the Legacies expansion for Star Wars: Destiny, and six other expansions for more traditional "collectible" games.

• Voting is open for the 2019 Deutscher SpielePreis (DSP), with games released in the second half of 2018 and the first half of 2019 being eligible. You can vote directly here, listing up to five family/adult games in the order that you prefer them, along with a single children's game. Merz Verlag, which oversees both the DSP voting and the annual SPIEL game convention, is giving away more than a hundred games to voters, as well as prizes that award the holder free entry to SPIEL '19. After voting, you'll receive a message via email that you must click to confirm your votes, after which you'll be entered into the prize drawing. from BoardGameGeek News | BoardGameGeek http://bit.ly/2GVLFRR

[sesiondemadrugada]

Atomic Blonde (David Leitch, 2017).

[ruseg]

Tweeted

Atomic Blonde (2017) •Director: David Leitch •Cinematography: Jonathan Sela •Production Design: David Scheunemann •Costume Design: Cindy Evans •Colorist: Francesco Luigi Giardiello pic.twitter.com/Du79CC6FkI

— Cinema Palettes (@ColorsEffect) January 29, 2018

[officialotakudome]

New Post has been published on Otaku Dome | The Latest News In Anime, Manga, Gaming, And More

New Post has been published on http://otakudome.com/atomic-blonde-dated-on-home-media/

Atomic Blonde Dated on Home Media

Universal has dated Atomic Blonde on home media:

Universal City, California, September 14, 2017 – Double-crossed while sent to collect stolen intelligence in East Germany, elusive secret agent Charlize Theron (Mad Max: Fury Road, The Fate of the Furious) unleashes a deadly arsenal of skills in ATOMIC BLONDE, the adrenaline pumping, stylish spy-thriller, coming to Digital on October 24, 2017 and 4K Ultra HD, Blu-ray™, DVD and On Demand on November 14, 2017, from Universal Pictures Home Entertainment. Adapted from Antony Johnson’s graphic novel, The Coldest City, the explosive film set in the late eighties takes viewers on a high-stakes chase as Theron attempts to escape Berlin. The 4K Ultra HD, Blu-ray™, DVD and Digital versions include commentary from the cast, filmmakers, stunt performers and fight coordinators, plus behind-the-scenes features that take viewers inside the making of the film’s intense stunt choreography.

Oscar®-winner Charlize Theron stars as elite MI6’s most lethal assassin and the crown jewel of her Majesty’s secret intelligence service, Lorraine Broughton, in ATOMIC BLONDE. When she’s sent on a covert mission into Cold War Berlin, she must use all of the spycraft, sensuality and savagery she has to stay alive in the ticking time bomb of a city simmering with revolution and double-crossing hives of traitors. Broughton must navigate her way through a deadly game of spies to recover a priceless dossier while fighting ferocious killers along the way in this breakneck action-thriller from director David Leitch (Deadpool 2, John Wick).  Theron is joined by James McAvoy (Split, X-Men: First Class), Sofia Boutella (The Mummy, Star Trek Beyond) and John Goodman (Transformers: The Last Knight, Patriots Day) in what critics are calling “the best spy movie in years,” Shawn Edwards, FOX-TV.

BONUS FEATURES on 4K ULTRA HD, BLU-RAY™, DVD AND DIGITAL

Deleted and Extended Scenes

Welcome to Berlin – The ultimate setting for a Cold War spy thriller, Berlin becomes a character of its own. Go behind the wall for this making-off.

Blondes Have More Gun – Lorraine Broughton has one impressive set of skills. See what it took for Charlize Theron to fully transform herself into this tenacious character.

Spymaster – David Leitch spins the spy genre on its head through exemplary action sequences and complex characters. Hear from cast and crew what it was like to work with this cutting edge director.

Anatomy of a Fight Scene – Director David Leitch breaks down the incredibly detailed long-take stairwell shot in this anatomy of a fight scene.

Story in Motion: Agent Broughton – See Agent Broughton as you never have before in these motion storyboards.

Story in Motion: The Chase – Gascoigne is on the run. Find out who’s after him in this motion storyboard.

Feature Commentary with Director David Leitch and Editor Elisabet Ronaldsdottir

Atomic Blonde will be available on 4K Ultra HD in a combo pack which includes Ultra HD Blu-ray™, Blu-ray™ and Digital. The 4K Ultra HD will include all bonus features on the Blu-ray™ disc.

4K Ultra HD is the ultimate movie watching experience. 4K Ultra HDTM features the combination of 4K resolution for four times sharper picture than HD, the color brilliance of High Dynamic Range (HDR) with immersive audio delivering a multidimensional sound experience.

Blu-ray™ unleashes the power of your HDTV and is the best way to watch movies at home, featuring 6X the picture resolution of DVD, exclusive extras and theater-quality surround sound.

DIGITAL lets fans watch movies anywhere on their favorite devices. Users can instantly stream or download.

For artwork, please log onto our website at www.ushepublicity.com  Website: https://www.uphe.com/movies/atomic-blonde Trailer: http://uni.pictures/AtomicBlondeTrailer Facebook: https://www.facebook.com/AtomicBlondeMovie/ Twitter: https://twitter.com/atomic_blonde Instagram: https://www.instagram.com/atomicblondemovie/ Hashtag: #AtomicBlonde

FILMMAKERS: Cast: Charlize Theron, James McAvoy, John Goodman, Til Schweiger, Eddie Marsan, Sofia Boutella, Toby Jones Casting By: Mary Vernu CSA, Marisol Roncali Music Supervisor: John Houlhan Original Score By: Tyler Bates Costume Designer: Cindy Evans Edited By: Elisabet Ronaldsdottir Production Designer: David Scheunemann Director of Photography: Jonathan Sela Executive Producers: Nick Meyer, Marc Schaberg, Joe Noezmack, Steven V. Scavelli, Ethan Smith, David Guillod, Kurt Johnstad Produced By: Eric Gitter, Peter Schwerin, Kelly McCormick, Charliz Theron, A.J Dix, Beth Kono Based on the Oni Press Graphic Novel Series: “The Coldest City” Written By: Antony Johnston Illustration By: Sam Hart Screenplay By: Kurt Johnstad Directed By: David Leitch

TECHNICAL INFORMATION 4K UHD: Street Date: November 14, 2017 Copyright: 2017 Universal Pictures Home Entertainment Selection Number: 62191888 (US)/ 62192922 (CDN) Layers: BD-66 Aspect Ratio: 16:9 2.40:1 Anamorphic Widescreen Rating: Rated R for sequences of strong violence, language throughout, and some sexuality/nudity Video: 2160p UHD Dolby Vision/HDR 10 Languages/Subtitles: English SDH, Brazilian Portuguese, French Canadian, French European and Latin American Spanish Subtitles Sound: English DTS: X Master Audio, Brazilian Portuguese, French Canadian, French European and Latin American Spanish DTS Digital Surround 5.1 Run Time: 1 Hour, 54 Minutes

DOLBY VISION: Atomic Blonde 4K Ultra HD is available in Dolby Vision™. Leveraging the HDR innovation that powers Dolby’s most advanced cinemas around the world, Dolby Vision transforms the TV experience in the home by delivering greater brightness and contrast, as well as a fuller palette of rich colors.

TECHNICAL INFORMATION BLU-RAY™:

Street Date: November 14, 2017 Copyright: 2017 Universal Pictures Home Entertainment Selection Number: 62184526 (US)/ 62187239 (CDN) Layers: BD-50 Aspect Ratio: 16:9 2.40:1 Anamorphic Widescreen Rating: Rated R for sequences of strong violence, language throughout, and some sexuality/nudity Video: BD: 1080p High-Definition Languages/Subtitles: English SDH, French Canadian and Latin American Subtitles Sound: English DTS: X Master Audio/Dolby Digital 2.0, French Canadian and Latin American Spanish DTS Digital Surround 5.1 Run Time: 1 Hour, 54 Minutes

TECHNICAL INFORMATION DVD: Street Date: November 14, 2017 Copyright: 2017 Pictures Home Entertainment Selection Number: 62184532 (US)/ 62187241 (CDN) Layers: DVD 9 Aspect Ratio: 16.9 2.40: 1 Anamorphic Widescreen Rating: Rated R for sequences of strong violence, language throughout, and some sexuality/nudity Languages/Subtitles: English SDH, French Canadian and Latin American Spanish Subtitles Sound: English Dolby Digital 5.1/ Dolby Digital 2.0, French Canadian and Latin American Spanish Subtitles Run Time: 1 Hour, 54 Minutes

[lorrainecparker]

ART OF THE CUT with Atomic Blonde editor Elisabet Ronaldsdottir

Elisabet Ronaldsdottir was born and raised in Reykjavik, Iceland and has been editing film at home and across Europe and America since the days of editing on film. Her first credited work as a feature editor was in 1998. Her films include Contraband, The Deep, John Wick, and her latest work with director David Leitch on the film Atomic Blonde. She has won several Edda Awards for Best Editing in Iceland and has been an active member of Iceland’s film industry guilds and academies. Art of the Cut interviewed her while she worked on Deadpool 2 in Vancouver.

HULLFISH: So you are working on Deadpool 2?

RONALDSDOTTIR: We’re shooting now. It’s fun. Fun but a lot of work. The biggest fun is being back with the clan that was also behind John Wick and Atomic Blonde: Director David Leitch, Producer Kelly McCormick, Director of Photography Jonathan Sela  Production Designer David Scheunemann and my Assistant Editor Matt Absher.

HULLFISH: What was the schedule for Atomic Blonde?

RONALDSDOTTIR: We started principal shooting in Budapest. I think it was beginning of November 2015. I arrived a bit before the beginning of principal photography – maybe two weeks before – so we probably started principal photography late November and we were shooting in Budapest until February or March. Then we moved from Budapest to L.A. where we finished post, but not completely because there was a production deal with a company in Sweden: Chimney Pot. So we did the color grade, graphics and some sound pre-mix in Sweden and Chimney in Berlin did all the visual effects.

HULLFISH: So you’ve done a bunch of these very high action films like John Wick and Atomic Blonde and now Deadpool 2. Let’s talk about the challenges of editing these highly choreographed stunts and working with stunt people that you have to then hide.

RONALDSDOTTIR: I’m pampered because I’ve been working with some of the best stunt choreographers and directors. So for me, it’s easy. I find it so easy to edit well-choreographed action. But then again, I come from a dance background and I’ve made many dance films. So I understand the basics of dance choreography – and action is kind of the same thing.

On-set editing on Atomic Blonde.

What I don’t understand is the idea that post should hijack the film once it’s shot. You have amazing professionals, for example, the stunt choreographers, doing magic and you need to talk to them, involve them directly in the editing dialogue during the cut. This is what we did with both John Wick and Atomic Blonde — we get the stunt choreographer and we have a discussion. Because you have to think of so many things. It’s not just the stunt itself. It’s also how it flows with the rest of the film, how it peaks or ebbs, etc. So it’s important to have this discussion and maybe the person involved can point out a better take where the stunt has a cleaner movement or something else. I remember on John Wick, the stunt choreographer pointing out to me, “He needs to put his foot behind him like this,” because that’s a very specific move in judo and I had cut it out. But then we discuss, “Sure, the action is better in this take, but we don’t see this person in the back as well.” And then we find the middle ground that works best for the film.  On Atomic Blonde we have this bad ass sequence that runs for almost 12 min. meant to look like one take. For that I was editing on set to make sure we got a cut that worked but also to try to assist in not losing sight of keeping the story strong – “can we pan a bit over to this guy so we don’t lose track of him” but most of the time I was just sitting there mesmerized over Charlize, she is amazing.

HULLFISH: With choreography in film it’s about showing the whole body, right? Yet, with someone like Charlize who is so beautiful you probably think, “Oh let’s be on her face” but you can’t do a fight scene on Charlize’s face because you’ve got to see the motion.

Director David Leitch and Elisabet Ronaldsdottir doing the “DVD Commentary” for Atomic Blonde. (Nice that they include the editor! This is one commentary I’ll have to listen to.)

RONALDSDOTTIR: David Leitch is a director that understands the importance of emotion in action sequences. In John Wick, we were on his face a lot because it was an emotional ride. We had to see that he didn’t want to do what he was doing but that he was really good at it and respectful of his opponents and the art of getting them down. Also in Atomic Blonde, the fight sequences are such an important part of Charlize Theron’s character’s emotional journey, and then we always made sure to follow up with a close up, but of course it would never work without an actor that has an amazing connection with the audience through the lens, and both Charlize and Keanu have that. The one thing that is similar with both movies is that they have very tall main characters doing the fighting and there’s something about the aesthetics of that that changes everything. It’s very different to see tall people fight. You get bigger movements of the body: legs fly higher. And a great example of that is the silhouetted fight scene in Atomic Blonde behind the screen in the East German movie theater. I think it’s stunning. I think it’s beautiful.

HULLFISH: Do you have a process for watching dailies?

Oscar® winner CHARLIZE THERON explodes into summer in “Atomic Blonde,” a breakneck action-thriller that follows MI6’s most lethal assassin through a ticking time bomb of a city simmering with revolution and double-crossing hives of traitors.

RONALDSDOTTIR: I go through the dailies. I throw them very roughly together. Just to make sure that we have it covered. For me, I still have the story so clear in my head after reading through the script several times. And I also look at all the source material that is made before principal shooting, storyboards and like for the stunts… they do pre-vis that is very helpful.

I like to be involved at the end of the script process because if there is anything you feel could be emphasized better or we need to skip, I need to discuss it before we shoot, and even though no one agrees with me, at least I got a chance to say it. There are so many rewrites of those scripts and sometimes there are ghosts hanging around in the script. Those ghosts are a part of the process, but being new to the script it’s easier to spot the ghosts and point them out. The story is the most important part of the editing process for me. No matter how fun the action sequences are, it’s the story and the character arc that stand out. I have a great respect for what the audience brings to the theater: their brains. So I don’t think we should be force-feeding the audience. But you try not to leave too much of a gap, so they don’t have to take too much of a leap to follow the story. 

HULLFISH: You mentioned “ghosts” in the script and for those that might not understand that, I think I know what you’re talking about. I had the same issue in the last film that I cut. There were so many versions of the script done before I came on board and then I got the script and I was lost about certain things. When I asked about certain plot points the producers said, “Oh, that’s because this happened and this happened in previous versions of the script.” And I had to point out: that’s not in the script anymore. So there are these “ghosts” of previous script versions that can affect the story in negative ways. They’re the thing that people on the development side of the movie remember happening but they no longer happen because they’ve been taken out of the script in the revision process and those can be huge problems right?

RONALDSDOTTIR: Yes exactly. And that’s why it’s important to get someone that’s not involved in the script writing to come in and be more objective.

HULLFISH: I want to be much more granular in our discussion of how you watch dailies. Do you watch last take to first? Do you take notes? Do you start building selects reels immediately?

RONALDSDOTTIR: Back in the day, we would sit in the cinema and just watch dailies and discuss them. Now we don’t do that. We try once or twice, during principal shooting, to watch dailies together, but it’s hard to find the time in everyone’s busy schedule and those who need to watch dailies do it either online or get them delivered on an iPad. 

I’ve been in this business for a long time. I started editing on film: a Steenbeck with a splicer and the white gloves. Then they shipped all the Steenbecks away and brought in the computer. Suddenly the producers thought that would cut post production time in half. But nothing up here (she points to her head) is going any faster. Plus with the computer, it’s so easy to make different versions and test out things that you couldn’t really do with film. So you’re actually expanding the post-production time because it just takes more time when you have so many options and can try out so many different things. 

Sometimes I don’t manage to see all the dailies as they arrive because all of a sudden I’m halfway through editing the scene. It doesn’t mean I don’t look at all the dailies at some point, to find the best takes or dialogue, but I might be watching and I just get this great idea and I have to just try it. 

HULLFISH: I heard a great quote this week from Carol Littleton: “You can’t know in week two what you know in week ten.”

RONALDSDOTTIR: A great quote. Yes absolutely. I’m not stuck in my ways in that sense. Sometimes I look at the rushes that just arrived but I’ll go and edit something from last week because today’s rushes gave me a better insight for that particular scene.

HULLFISH: How do your assistants set up your bins?

RONALDSDOTTIR: Matt Absher has worked with me forever and he builds the foundation for us to work on. He generally keeps the bins structured by scene order in Frame View, but sometimes you will have a massive action sequence that they shoot in pieces and it gets more complicated, so we divide them up by blocking. And then I have my lined script and so it makes it less overwhelming as the shot ratio gets higher.

HULLFISH: Since switching to film have you always been on Avid?

RONALDSDOTTIR: I’ve done everything, I think. I can’t even remember the name of the first software with the door and the fish?

HULLFISH: Maybe Lightworks? That’s the one Thelma’s Schoonmaker uses.

RONALDSDOTTIR: LIghtworks!  Maybe I should have stuck with that… I’m not a technical editor. I’ll cut on anything. I’ve worked on FCP7, which I liked a lot before they changed it to FCP-X and I’ve edited on Premiere. If you give me scissors and glue, I’ll do it. But if you’re going to hand me a computer it better be a fast computer.

HULLFISH: So was Atomic Blonde cut on Avid?

RONALDSDOTTIR: Yes. Avid.

HULLFISH: So, you’re cutting Deadpool 2 now. What about that? The first one was cut on Premiere.

RONALDSDOTTIR: We’re back on Avid. We have a very condensed production schedule and with great respect to all other soft- and hardware we felt Avid had the most solid pipelines already in place, can easily handle the amount of data we will be receiving, and also the whole team is accustomed to that system. 

HULLFISH: Let’s talk about temp music.

RONALDSDOTTIR: Well I try to be very careful because you don’t want people or yourself to fall in love with something that’s not going to be used. I never ever edit to music. Never ever. I think it’s so important to find the music and the rhythms within the scene itself. I listen to a lot of music, even as I´m editing but don’t cut to the music. For me, it’s most important that people can actually watch an edit without any music. Maybe it’s just my overblown ego, but I really believe there is music in the editing and if you can get the rhythm right, you can put any good music on it and it will work. I’m excited to use music that isn’t necessarily on the same emotional level as what’s happening in the scene, not in the same tone, I don’t like to layer-cake the emotion, and to me, it actually feels more emotional to contrast the emotions on the screen. But now I know I’m generalizing too much and might even sometimes completely disagree with myself.

HULLFISH: So were there a lot of 80s pieces of music in the Atomic Blonde that had been pre-selected for specific scenes?

RONALDSDOTTIR: Absolutely, David was very specific about what he wanted and had researched on it for a long time, I believe the playlist he made for the film was his first introduction to the project to me, along with the comic book. And almost every track made it into the soundtrack even though some got moved to other scenes than originally planned.  David even shot some scenes to playback of the music he had chosen. 

HULLFISH: When you’re cutting action, do you find that you have to personally put in a lot of sound effects to get the rhythm right?

RONALDSDOTTIR: I do use a lot of sound effects, Matt always takes a pass after the first rough cut of a scene, but all those gunshots and hits do affect the rhythm immensely.

HULLFISH: One of the things that you talked about was the emotion of some of these action scenes INSIDE the action scene but you also need to have that emotional connection BEFORE we get to an action scene so that we have an emotional connection to a character, right?

RONALDSDOTTIR: Do we? Well, it’s very popular in films to start with a blast of action. And why would you not be able to emotionally connect with a character through a fight scene? But yes, at some point you want to be emotionally connected to the person that you’re looking at. Atomic Blonde is such a different film from anything else that I’ve participated in. And it’s especially a different film from John Wick. John Wick is a simple revenge story, like the Nordic Sagas. Some one slaps you in the face and 300 people have to die and no one questions the revenge. “You killed my dog. I’m going to kill all of you.” Emotionally we can relate to the anger and frustration over something that has been taken away from you.

Atomic Blonde is so different. If we are talking about it on an emotional level it’s about people who build walls because they have so much to hide, there are just too many secrets, and they’re  each so compromised. They can’t talk because the truth might slip out, and the truth will not only put them in danger but anyone close to them, so they become disconnected. That’s what this film, in my mind, is about and that’s what made it so complicated to edit.  Lorraine, Charlize Theron’s character, tells us the story of what unfolded in Berlin late 1989, the week leading up to the fall of the Berlin Wall. It’s not a revenge story. It’s not a who-did-it story. It’s more of a journey.  You are told a story and then things turn out to be more complicated than we are told to begin with. So the story itself is very complicated and we put a lot of work into trying to make it so people could enjoy it on different levels. So if you like a complicated spy movie, with twists and turns, you should be fine. If you don’t like that and you just want to see beautiful people and beautifully shot action, you should be fine. Do you need to emotionally connect to a character? Yes. But emotions are complicated and how you connect is complicated and how we feel entering the theatre matters and affects our ability to connect just as much as anything else. I’ve watched a movie and almost peed myself laughing and then saw it less than a year later thinking – what in the world did I find so funny?  What made my journey with Atomic Blonde — which we always knew as The Coldest City — but they changed the name recently, was trying to balance that we were working with a character that is keeping you at a distance the whole time, for a good reason, and our need as audience to connect emotionally with that character. 

HULLFISH: There’s the text of the story, then there’s the subtext. Are you trying to keep that subtext in mind as you are choosing performances?

RONALDSDOTTIR: Absolutely! That’s extremely important. Yes. That’s part of the work we do. In Atomic Blonde there’s a lot of subtext about the useless political games played and how they affect people – lot of references to the game and how we are gaslighted even when the poles are shifting, changing lives. To make that point, to conclude, we moved Percival’s monologue towards the end: “what was it all about, who won?” instead of having it opening the film as it was scripted. We also combined different scenes to add to Lorraine’s dialogue: “My superior? You just didn’t want your dirty little secrets out” – and moved it closer to the end of the final interrogation scene, plus added some ADR here and there, for various characters, in the hope of punctuating that specific point. We worked on making the TV a character that tells us the story of the wall coming down, we wrote the news anchor’s dialogue in the editing room,  based on real news and we had an actor come in to read it, and we closed the TV character with MTV: “hey, that’s all cool but let’s talk sampling, is it art or plagiarism.” I hope people will be able to enjoy Atomic Blonde, either on that level or as a spy thriller and for the internal struggle of people who are living dangerously and lying to everyone: family and friends; or as a beautiful rock action video.

HULLFISH: Talk to me about making story decisions; because I’m sure there were things that had been over-explained in the script then you had to determine where and when you have to let the audience use their brain, and when do you have to make sure the audience absolutely gets this or else nothing else makes sense.

RONALDSDOTTIR: Yeah. And that was difficult to find that line on this film because some people are extremely cinema-savvy and then you have to respect that most people aren’t, and it’s a fine line. We, at one point, deconstructed the whole story, the dialogue part that happens in the interrogation,  and then put it together again where we tried to keep the threat, we deemed important, steady through the whole story. There are very, very few scenes that we cut completely out but we shortened most of them a lot, but don’t worry – we didn’t shorten the action.

Screenshot of Avid timeline for Atomic Blonde. This was for one of the screenings of the movie before the final, but there was a full audio mix, hence the look of the timeline audio tracks.

HULLFISH: I want to discuss a little bit more about balancing the story. What were the discussions or what did you sense before you balanced it? What did you sense the problem was? I’ve been on films where you say, “it’s too long before we introduce this character the way it is now, so how can we get this character earlier?” What were the discussions on Atomic Blonde?

RONALDSDOTTIR: This film has very important information coming through dialogue. It’s not a linear film. And we did play a lot with that, in order to get a better control of the story. We even went non-linear within the linear parts of it. Crazy fun. It was very important to get certain information in the beginning as it is crucial for the end twist to work, but we still didn’t want to drown people in dialogue and force feed all the clues. I´m sure some people will not get all the twist in the first viewing but I trust they will still be able to enjoy the ride and will be ready to get a different experience, though just as fun, on a second viewing.

The discussion also centered on how to reveal all the lies. Because our central character, Lorraine, is telling us her story. We see everything from her point of view and then it kind of switches towards the end where the two timelines get closer to each other. Also, some energy went into building up the antagonist, even though I always saw the patriarch, in the form of C and Gray played by James Faulkner and Toby Jones, as being her main antagonist, so we did some work on Percival’s arc, who is played by James McAvoy, so we could root for Lorraine.  One of the beauties about this film is that no one is really good or bad, they just all have issues.

HULLFISH: Let’s talk a little bit about performance and what makes you feel like this is a great performance. Then also, how are you forced, even with a great performance to mold or shape it to be what needs to be?

RONALDSDOTTIR: Great performance are great performances. Something I find I have to be very careful with in my work is that sometimes some actors might have slight problems with their performances not necessarily due to any fault of their own. It could be the character or some kind of external problems that come up, but it means that you spend a lot of time on those more troubled characters and performances. And so then the other characters that just had an amazing performance – get less time. I try to avoid that because every great performance deserves attention and love.

I don’t feel like I’m molding great performances. It’s how you let them shine, without over-cutting everything, especially the main character. You have a main character and that’s the one that should shine and when you have supporting actors you don’t want them to shine necessarily brighter.

HULLFISH: I was more thinking of the temperature of the performance because you can have a great performance that is very strong and could be correct for a story. But then when you look at it in the context of the overall film you decide that you need to use different takes because some other editing has changed the arc of the character from where it was in the script.

RONALDSDOTTIR: Yeah. Absolutely, and we do a lot of that. Sometimes we have to adjust using ADR, if we don’t have the means for reshoot or pick-ups. 

And then we have to deal with those endless test screenings, that can call for added ADR etc, and that’s probably very, very helpful up to a point. It’s a fine line, because you can’t please everyone

HULLFISH: My thing that I’ve discussed with so many editors is that you don’t need to wait for the notes after a screening, Right? All you need to do is sit in a room with an audience.

RONALDSDOTTIR: Yes, you sense it and that’s very important. Both David (director, David Leitch) and Kelly (producer Kelly McCormick) and I turned up for every single test screening to feel the room. Test screenings have become a thing of their own. There are people that look out for those test screenings and they want to be there. It has become their thing and they are writing whole essays on how to make those films better. I don’t want to be rude or aggressive but I think it’s a double-edged sword. Because also, people feel like they should say something because they’re there for a reason. So they start digging and pointing out stuff they would never have thought of if they saw the film on their own. Then there’s the “professional” test screening audience and I understand their interest in it but it’s very tough perhaps how to deal with those notes. I have great respect for those notes, but…

HULLFISH: …but that’s why it’s better to just be there in the screening right? Not so much for the notes but the overall reaction.

RONALDSDOTTIR: Absolutely. And I always go out and stand in the door when everyone walks out so I can listen to what they’re talking about.

HULLFISH: What is your method of collaboration and does it have to change from director to director?

RONALDSDOTTIR: Yeah, it does change from one director to another in the sense that I’m a bit of a chameleon. It’s very important to me to listen to the director – what their words are, what their vision is, and I try to visualize what they are seeing. 

I’ve been extremely lucky and I’m always learning, which I love. The day I stop learning something in this job is the day I need to go and do something else. I’ve been able to collaborate with some great directors in Iceland as well as in America. And in the future I would love to work with more female directors.

HULLFISH: I just did interviews with the editors for Kathryn Bigelow (Detroit) and Patty Jenkins (Wonder Woman).

RONALDSDOTTIR: I just think it’s important for all of us as an audience to have as many voices and as broad a vision as possible. Not always men. And I have nothing against men. Some of my best friends are men (she winks), but the more women the merrier.

HULLFISH: That’s my motto! Let’s talk some more about the social aspect of editing and discuss the balance between having a very strong ego, because you said that you have a very strong ego and yet you know that you have to subvert that ego to the director’s vision but also to provide the director with enough of your own vision that you are valued.

RONALDSDOTTIR: I think this is like any communication with anyone in your whole life. Film is a bunch of massive egoists coming together and trying to figure it out. It’s not only the actors. We’re all massive prima donnas and crazy people. I mean that’s what we love about this movie business anyway. I think it’s important to talk, and I would never just let something pass. Let’s say a director shoots a scene, and I think, “This is not working for me.” I would definitely say, “I don’t understand what’s happening here. It’s not working for me.” It’s not that I’m accusing him or anything. It’s more to get the dialogue going and maybe he will explain something to me that I didn’t think of, and I get guided into the right direction of how to handle that scene or the director will say, “No, you’re right. It’s completely fucked. We need to shoot it again.” 

My biggest rule and only rule in the editing room is honesty. I have great respect for actors because they have to be so honest in their work on the screen. And I sincerely believe that that’s why some actors have such a great connection through the lens because they’re so honest. I sincerely believe that’s the reason. That’s why I respect what they bring to the table and the same goes for all of us that work in the film industry: we have to be honest about it. 

So for me, the biggest thing is honesty. We have to be able to talk about things — difficult things. We have to be able to talk about ideas … So I do a lot of talking in the editing room. I think probably 70% of what I do is talking. Talk, talk talk. Talk about feelings; talk about the characters; talk about the story. Everyone is working for the same goal. Everyone wants the same thing. It’s just that the only way to get there together is through dialogue.

HULLFISH: You said the number one rule in your editing room is honesty and I’ve heard from so many people that the number one rule is trust.

RONALDSDOTTIR: Yeah, yeah, yeah. They go completely together. I wouldn’t go on a project if I didn’t have complete trust. It’s very difficult, to be honest without trust. If I didn’t trust the director I’d rather do something else. Film is an emotional art form. People are very emotional about their films and it’s an emotional journey to make a film. There is no way around that. So the whole emotion needs to be honest so the audience can trust when they watch the film. And they can hate it or love it, but they have to be honest about it. That’s my opinion. My super inflated ego opinion of what I think… I do take my work seriously but I don’t think people should take them selves too seriously, it can cause all kinds of health problems. 

HULLFISH: You said that the day you stop learning is the day you have to find something else to do. So often our mistakes are what teach us something. What was the last mistake you made that taught you something?

RONALDSDOTTIR: Well, OK, now you got me cornered. But I am learning more and more that there are no mistakes in editing, there are choices. And of course your choices might not be right, but if you made them with honesty and respect for the story and for the characters then that´s the best you can do. And this is one of the things that´s so amazing working with David Leitch, because he´s so willing to risk “mistakes” in order to experiment with story and character. I mean the past year with Atomic Blonde was just like a roller coaster in discovering new ideas and approaches to experiment with what works for an audience and what doesn’t. And as a result, I feel like we extended the form of storytelling in a sense. Everything may have been done before, but we just haven´t done it before. So at least we got to expand our experience of storytelling.

HULLFISH: Do you have anything to say about any of these scenes from Atomic Blonde?

This is when Lorraine goes to meet Lasalle. Beautifully shot by Jonathan Sela. I believe we had a two-minute track of Lorraine walking up to the bar, but as stunning as it was we cut it down for the sake of pacing.  We did cut out some dialogue and, as in many other scenes, it was a challenge as they are always both in frame. We all know Charlize Theron is an amazing actress but Sofia Boutella was a discovery for me, I find her amazing as well.  

I was editing on set for this scene as it’s meant to feel as one single take. We shot it chronologically and tested each edit to make sure it was working. I did it on my laptop and got playback files from the camera on a memory stick. I worked closely with our VFX supervisor from Berlin, Michael Wortmann, we proudly claim we invented the Budapest stitch but it was freezing cold and I can’t remember the details of that genius invention, but it worked. 

Lorraine is taking an ice-bath to ease the consequences of her earlier fights. The wide shot of the room is repurposed from the beginning of this scene that we cut out and we slightly zoomed digitally into it to add movement and tension.  Also, when Lorraine attacks Percival with the bottle I did a split screen in order to delay Percival’s reaction to it. This was such a fun scene to edit, also the dialog that follows but is not included in this clip, as the chemistry between Theron and McAvoy is so charged.

HULLFISH: Thank you so much for your time. I really appreciate it. It was an absolute delight to talk to you.

RONALDSDOTTIR: Thank you. Same and I hope you like the movie when you see it.

This interview was transcribed with SpeedScriber.

To read more interviews in the Art of the Cut series, check out THIS LINK and follow me on Twitter @stevehullfish

The first 50 Art of the Cut interviews have been curated into a book, “Art of the Cut: Conversations with Film and TV editors.” The book is not merely a collection of interviews, but was edited into topics that read like a massive, virtual roundtable discussion of some of the most important topics to editors everywhere: storytelling, pacing, rhythm, collaboration with directors, approach to a scene and more. Oscar nominee, Dody Dorn, ACE, said of the book: “Congratulations on putting together such a wonderful book.  I can see why so many editors enjoy talking with you.  The depth and insightfulness of your questions make the answers so much more interesting than the garden variety interview.  It is truly a wonderful resource for anyone who is in love with or fascinated by the alchemy of editing.” In CinemaEditor magazine, Jack Tucker, ACE, writes: “Steve Hullfish asks questions that only an editor would know to ask. … It is to his credit that Hullfish has created an editing manual similar to the camera manual that ASC has published for many years and can be found in almost any back pocket of members of the camera crew. … Art of the Cut may indeed be the essential tool for the cutting room. Here is a reference where you can immediately see how our contemporaries deal with the complexities of editing a film. … Hullfish’s book is an awesome piece of text editing itself. The results make me recommend it to all. I am placing this book on my shelf of editing books and I urge others to do the same.”

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