A “MÁGICA” DO CINEMA: EDIÇÃO
Com exclusividade, Tristan Aronovich conversa com um dos maiores editores de todos os tempos: Jon Alvord
Muitos dizem que o ofício mais inerente, única e intrinsecamente ligado ao cinema é a edição. Pode parecer uma verdade um tanto quanto extrema ou radical, mas há um certo sentido na afirmação: a sétima arte é uma combinação de diversas artes/ofícios. Tais ofícios são oriundos se OUTRAS vertentes artísticas, ou seja – o trabalho de câmera e iluminação foi “roubado” ou adaptado da fotografia, o trabalho com o elenco descende diretamente do teatro, os cenários, figurinos e direção de arte vieram das Artes Plásticas…o que sobra artisticamente/esteticamente? A edição! Que, segundo muitos, foi a única arte verdadeiramente “nascida” ou originada a partir de uma necessidade do cinema. Controvérsias e debates a parte, uma coisa é inegável: a edição é uma das etapas mais essenciais e desafiadoras no processo de realização cinematográfica. Até ser editado, um filme nada mais é do que clipes e cenas desconexas, sem ritmo específico, sem música, sem som… quando a edição começa, a “mágica” começa a acontecer e as cenas ganham forma e vida!
Indo direto e reto ao ponto: durante o último ano, tenho tido a honra e o privilégio de trabalhar (e estudar) com um dos maiores editores de todos os tempos: Jon Alvord. O cara é simplesmente responsável por alguns dos maiores prodígios no que toca a edição cinematográfica nos últimos tempos. Olha só um resumo do currículo da fera – Jon é responsável por efeitos visuais ou edição de filmes como Sin City, Planeta Terror, Estrada Para Perdição, X-Men, Missão: Impossível 2, Vanilla Sky e muitos outros! Tá bom ou quer mais? Recentemente, pedi permissão para entrevistá-lo com exclusividade para a Zoom Magazine. Ele topou. Aqui vai um pouco da sabedoria deste monstro:
1) How did you first get into film editing?
My passion for film began with my love of special effects and special effects makeup. When I saw films such as An American Werewolf In London and Dawn of The Dead I immediately fell in love with the art form. I was hooked. The problem was that I lived in Washington DC where film production didn’t exist. So I acquired books with instructions (this was before the invention of internet and online tutorials) and did my best to learn the makeup effects craft.
When I enrolled in college I was very fortunate to study with Bill Tuttle and Dick Smith, legends in the the makeup effects film industry. I partnered with Thom Surprenant, another young visual effects artist, and began working on feature films by my sophomore year. I was so fortunate to have almost 3 years in the industry by the time I graduated from college. There was only one problem, I didn’t like it. I spent all this time and energy pursuing a career that just wasn’t enjoyable to me. I was seeing my friends and partners loving every minute of it and I wasn’t happy.
It was that moment that I realized that I shouldn’t ignore how much I enjoyed my editing classes and all of the student films I edited during my college film school time period. So I completely changed my career and became an apprentice editor. I loved it, and never looked back.
2) Who/what are your main references as an editor/visual effects artists?
Tom Savini (sp?) and Rick Baker were my make up influences. But when I switched toeditorial, Adrian Carr and Dennis Virkler were my first mentors.
3) Can you tell what project was your most challenging project ever? And why?
There were so many challenges over the years. All major ones were unique. The first major challenge occurred on my first feature film as an editor. It was the first film I had as a 1st Assistant Editor, then the editor left and I as promoted to lead editor. I had just begun to learn how to be an assistant and now here I was in the lead roll in editorial after only a year or so in post production. So not only was I learning how to deliver a feature film, but edit, deal with producers and directors and manage a small post crew. What made it so complicated was that the producer was a recovering drug addict that had mental issues from years of drug use.
So his decisions were questionable and incomprehensible. To make matters even worse, the IRS was after him, the company was closing down, and investors were coming after him because their money was disappearing and the film wasn’t finished.
Other projects were challenging in that we had no time to deliver and were pulling 24+ hour shifts and sleeping at our computers trying to make the deadline. One project I was on required me to stay awake for almost 3 days in order to finish it and meet the deadline.
Another project ended up with the director and producers suing each other and I was caught in the middle because everyone wanted to confess everything to me and seek my advice. I like to say, that I am like the local bartender. When people come into my office and close the door, they just start to confess things to me and I must act almost like a therapist and provide advice and keep all conversations confidential.
That can be very challenging and exhausting. Over the years I have learned that it is best to tell everyone to refrain from telling me anything that I can’t repeat to others.
Some projects were very difficult because the bosses were so mean that I was actually vomiting every morning from stress before I would go to work. Throughout itall, I never gave up and saw each challenge as a way to test myself. And with every rough and difficult project would come a wonderful film where everyday was a joy to be at work. Jon Adams was one of those projects. I loved the crew and made numerous life long friends from it. As dailies would come into the cutting room you could tell that you were on a special project and I would be excited to go to work everyday.