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marshmallowbee13 · 4 years

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Just a short thing I wrote for Asra's birthday

Having family over was the best part of any birthday. For so long, Asra was alone. Growing up, he missed his parents dearly. But now, they were here with them. He had a bigger family than he'd ever dreamed of having. Two beautiful spouses, three adorable kids, his parents, Muriel, Nadia, Portia, their spouses and kids... It was more than he could ever ask for. It was perfect and he wouldn't want his life any other way.

This birthday was no different. He didn't need any fancy gifts, or cake, or parties. Okay, maybe a little cake... But spending time with the ones he loved was all he ever wanted. Of course, they would insist on getting him more, just as he would do for them, but in the end, they made a compromise. They would take the ship they had gifted Julian in the past and the family would sail down to visit Nevivon. The twins had been curious about where their Papa grew up and Julian had been more than willing to tell ridiculous tales of his childhood.

So here they were, readying the ship and having a combination going away/birthday party. He hadn't been on a ship since they all traveled for their anniversary. But that was before the kids were born. Now, they had three little munchkins to watch over.

Speaking of munchkins, they were being awfully quiet... Faust was up in the rigging, having too much fun to bother with the party down below. So where were the kids?

Looking towards the snack table, he caught little hands reaching up and taking cookies, one swiping a finger through the cake's frosting. Found them. He walked over to the table and crawled under it. His kids froze, caught red handed. Or jelly handed, as they were stealing the jelly shortbread cookies Nadia had brought.

"You realize I can't let you get away with this, right?" Asra said. Rose hesitated only a second before offering him a cookie. Asra laughed. "Bribe accepted." He took the cookie and bit into it. Mmmmm... Strawberry! Asra let the kids finish the cookies they stole before shooing them out from under the table. Salim caught Asra leaving last.

"You're how old now and you're still stealing cookies under the table?" his father teased. Asra offered him a cookie, as Rose had done to him. Salim glanced over to his wife, who was currently busy cooing over baby Aerin before taking the sweet.

"Don't tell your mother." Asra laughed. The apples truly don't fall far from the tree.

After a bit of socializing, it was time for cake. Ilya sang that god awful birthday song, but Portia's and Ramona's voices added into the mix made it sound so much better. After cake, his friends each gave him presents they had made. Muriel gifted him with a colorful tapestry that he had learned to make since traveling south to reconnect with his roots. It featured their family and friends as different animals, hand stitched with care and precision.

Portia gave them a new tea set, beautifully painted with pink and purple flowers. Their old one had cracked after falling from a child-doing-magic accident. That had been a very messy three days...

Nadia gifted him a rare crystal that was incredibly hard to find. There had been stories of only a small handful found on the entire continent. Even Asra had never seen one outside of book illustrations. The possibilities of new magics to try out...

The kids each gave Asra a painting they had made. Asra treasured these above everything else. Rose painted a fox sitting in a colorful world. It seemed the Magician favored her as he once did Asra and visited her in dreams. Nikolai gave a picture of a butterfly, and Aerin had made a very abstract painting of colorful marks on his paper. Very advanced for a baby, Asra remarked.

All too soon, the party was over. The guests packed up and left, save for Mazelinka and Asra's parents, and it was time for the Devorak-Alnazar family to set sail. The twins watched excitedly as the home they grew up in grew smaller and smaller on the horizon, taking them on to a new adventure. Asra still felt the same. Traveling to a new place was always exciting. He was so glad he could finally experience it with his kids.

Asra looked over and it seemed the kids had found some accessories to go with their trip. Rose wore a captain's hat that was much too big for her and Nikolai stumbled around with eye patches over both eyes.

"Baba, look! I'm a pirate! Look at my funny sword!" Rose called to him. Asra panicked upon seeing it. Oh no. That's where they found the accessories.

"Rose, no! That's not a sword!"

#the arcana #the arcana game #the arcana asra #asra alnazar #asra the magician

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brokehorrorfan · 4 years

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Blu-ray Review: Road Games

In addition to launching the slasher boom, John Carpenter's Halloween also catapulted Jamie Lee Curtis into the spotlight as a scream queen. She quickly followed her big-screen debut with five more genre pictures released in the span of two years: The Fog, Prom Night, Terror Train, Halloween II, and Road Games. The latter is a 1981 Australian film, for which marketing efforts played up its horror overtones in a shrewd effort to capitalize on the actress' genre clout, but it's more akin to a taut, Hitchcockian thriller.

Curtis is charismatic in her supporting role in Road Games - a part that's more reminiscent of her work in The Fog than Halloween - but she doesn't show up until the 37-minute mark. The show really belongs to Stacy Keach (The Ninth Configuration). In a rare starring role for the character actor, Keach is alone - or, more accurately, with a dingo companion by his side - for over half the picture, and there's nary a dull moment. The part was originally written with Sean Connery in mind, but Keach owns it.

Keach plays Patrick Quid, an atypical truck driver who makes the most of the long hours driving his big rig through Australia. The film is unafraid to hold for character beats - such as the silly backstories Quid creates for people in passing vehicles or his penchant for reciting poetry - which pays dividends when a threat is later introduced. Although he's not supposed to, Quid occasionally finds company in a hitchhiker, including a fellow American that he dubs Hitch (Curtis).

When he learns that a killer is on the loose, Quid becomes suspicious of a man (stunt coordinator Grant Page, Mad Max) that he sees several times throughout his lengthy haul. The authorities prove to be no help, and Quid himself risks being implicated in the crime, so he takes the law into his own hands. His paranoia, coupled with a lack of sleep, drive him toward delirium as he tracks down the believed killer. It culminates with an atypical chase scene throughout which the vehicles speeds steadily decrease rather than increase.

Road Games comes from Ozploitation royalty, with keen direction by Richard Franklin (Psycho II, Cloak & Dagger) and a sharp script by Everett De Roche (Long Weekend, Razorback), reuniting the pair following a successful collaboration on 1978's Patrick. (Sadly, both talents have passed away.) The film is essentially Rear Window on wheels, so it's no surprise that Franklin was a vocal Hitchcock fan. His appreciation for the Master of Suspense's oeuvre - and, more importantly, his understanding of why it worked so well - is on full display.

With a budget of 1.8 million AUD, Road Games was Australia's most expensive film at the time, thanks to a couple of memorable stunts and the pair of bankable American leads (much to the reported chagrin of local talent). The Australian setting gives the picture great character, beautifully captured with Panovision cinematography by Vincent Monton (Long Weekend). The intimate story, however, is a universal one that just as easily could have taken place in Anywhere, USA.

Road Games is available on Collector's Edition Blu-ray from Scream Factory, which features newly commissioned front-facing cover art by Joel Robinson and the original poster on the reverse side. The release utilizes StudioCanal's recent high-definition restoration, which is a treat. Most notably, the disc features a new, 13-minute interview with Keach, who chats about working Down Under alongside Franklin, Curtis, and a dingo.

A new audio commentary features a lively discussion between Monton, production coordinator Helen Watts, costume designer Aphrodite Kondos, and moderator Mark Hartley (director of Not Quite Hollywood: The Wild, Untold Story of Ozploitation). An archival commentary with Franklin from the 2003 DVD, moderated by Anchor Bay's Perry Martin, is also included. Of the director's various appearances throughout the extras - of which there are many, as detailed below - this track is the most thorough.

The previously unreleased audio of a 1980 script read-through with Franklin, Keach, and actress Marion Edward is a highlight. There are some notable differences between this draft and the final product - including an entirely different opening - but the chatter between reading is often even more interesting. There's also a gallery of stills and posters set to recently discovered demos of the score by Brian May (Mad Max) and a two-hour lecture about the then-forthcoming film by Franklin, May, and co-producer Barbi Taylor from 1980, sourced from VHS.

Other extras include: Kangaroo Hitchcock, a 20-minute making-of featurette with Franklin and Keach from 2003; extended interviews from Not Quite Hollywood with Curtis, Keach, Page, Franken, De Roche, Monton, and assistant director Tom Burstall; audio interviews with Keach and Page from Umbrella Entertainment's 2016 Australian Blu-ray; a career-spanning audio interview with Franklin from 2001; a profile on Franklin, which seems to be an Australian TV piece circa Road Games' release, sourced from VHS; a gallery of production photos, stills, storyboards, and promo material; and the theatrical trailer.

While the natural inclination might be to go full-throttle, so to speak, with the thrills in a film of this sort - which Duel accomplished a decade prior and The Hitcher did several years later - Franklin and De Roche take a page from Hitchcock's book of methodical pacing. The respectably restrained approach pays off by the end, resulting in an understated Ozploitation gem.

Road Games is available now on Blu-ray via Scream Factory.

#road games #jamie lee curtis #stacy keach #ozploitation #scream factory #richard franklin #everett de roche #joel robinson #dvd #gift #review #article #80s horror #1980s horror #horror #australian film #australia

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the--blackdahlia · 5 years

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Armageddon Chapter 14 (Dean x Reader)

Title: Armageddon Chapter 1

Summary: Space. The Final Frontier. But for Dean Winchester, space was the last place he thought he would ever go. His family life isn’t perfect, his job isn’t ideal, but he has (Y/n), the woman he loves. Sam Winchester never thought his life would turn out the way it did. He is divorced, alone, and his brother most likely hates him. Working for NASA was not going to be easy. But, when a threat to the earth has him calling on his family for help, what can he do? can Sam and Dean push past his family issues to keep the Earth spinning another day? Based on the movie of the same name.

Pairings: Dean x Reader; Sam x Jessica

Warnings For this Chapter: Language, minor character death, tension

Song for this chapter is Roll Me Away by Bob Seger

Check out my Patreon for more!!

The two groups began by setting up the helmets as the two shuttles connected together. Both groups convened by a table set up to make it easier to plan and begin drilling. Sam was in charge of getting the bomb ready with the help of Mick and Garth, while the other guys worked on handling the drill. It was a little different than being in the pool. They had to make sure they drilled to a certain depth, which was easy in the water. But space rock was not the same as water.

“How’s she handling Dean?” Sam asked, looking over at his brother.

“Beautifully,” Dean smiled, “I might have to design something like this for the rig back home!”

“Well, I trust you to handle it.” Sam smiled at him through his helmet and went back to getting the bomb ready. “Okay guys, we don’t set the timer until everyone is on the shuttles and heading home.”

“You’re really bloody brave to be handling this.” Mick said. Sam looked over at Dean.

“If it wasn’t for Dean, we wouldn’t even be having this conversation right now. We’d be trying to find a bomb shelter that could handle the impact.” Ash was standing off to the side, looking down at the earth.

“It’s beautiful.” Ash said. “So big and blue...”

“Ash, do you think you could spare a moment and help out control this?” Benny growled.

“Oh, right.” Ash said, going over. They were running it in shifts so someone didn’t get tired and they had to run it the whole time they were there. There was a lot of ground to go through. Dean would be taking over in awhile, and he stood to the side and watched them. But something about this mission had an element of doom to it. It had to be because of what they were doing, that not just their lives, but the lives of their loved ones depended on it.

“Dean!” Sam said. “Wanna meet your creation?” Sam looked over at Dean.

“I get to meet the big bad kaboom!” Dean laughed as he walked towards Sam.

“The um, the mud flap silhouette on the side was Cas’s idea.” Sam said, shaking his head. “Him and Ash thought it up. Ash named her Brandy.”

“It’s a good name!” Ash called out.

“Not for a bomb!” Sam yelled back.

“Yeah, but for a bombshell.” Ash laughed. Sam shook his head and looked back to Dean.

“Well, what do you think?” He asked. “Did I do her justice?”

Dean chuckled, “I would have named it chimichanga to be honest!” Dean walked around ‘Brandy’ and sighed. “You did her justice, She looks good.”

“How deep are we?” Mick asked.

“Not deep enough.” Dean told him. “We still have a long way to go.”

“You’ll get it man.” Garth told him.

“Garth how deep are we? We need to get to 800 feet!” Dean called out to him.

“We’re only at 125!” He called back.

“Damn.” Sam sighed.

“What if we try and tweak the speed a bit?” Dean wondered, “It’s risky but I think she could handle it.”

“We only have two extra bits.” Ketch told him. “We gotta be careful with ‘em. No hole, no boom.”

“Fuck!” Dean growled, “we need to come up with something… anything… any luck fixing communications with Mission Control?” he pressed the com to Jo.

**************

Mission Control

“AM I WORKING WITH MORONS! HOW HARD IS IT TO GET OUR FUCKING COMMUNICATIONS IN ORDER!” Bobby yelled. “They need our help! Someone better get this right or we are all fucked!”

(Y/n) paced as she heard what was going on. She looked to John, “What do you think they can do? I mean… it’s different from the oil rig but… If Dean can get it to just spin a second faster….” she rubbed her abdomen, using it as a reminder to calm down.

“Did you eat anything yet?” John looked at her. “ You need to eat something… anything… please.”

“John, I’m fine really… I… I just want to talk to him just once…” (Y/n) whispered.

“You’ll get to talk to him again. He’s coming back.” John told her. “But you have to keep your strength up. It’s not just you (Y/n).”

“I got it John,” Jessica placed a gentle hand on John’s shoulder. “I will take her to get something to eat. Watch Ashton for me?” She put her arms gently over (Y/n)’s shoulders. “Come on sweetie, you need to stay healthy, for you, the baby, and Dean ok?”

(Y/n) simply nodded as she let Jessica lead her to the cafeteria. (Y/n) filled up her tray with a slice of pizza, a burger, fries, and a slice of apple pie. Jessica gave her a soft smile as she reached for the hot sauce.

“My pregnancy with Ashton produced a lot of strange cravings,” Jessica chuckled as she sat with (Y/n). “I think one of my biggest cravings was…. I mean pickles were a big staple, but I would mix it with a variety of different flavors, pickles and chocolate seemed to be a good one. Then there was Ice cream and Chilli sauce.”

“Yeah, I have been really into hot sauce, lately and lots, and lots of pie… It’s definitely Dean’s kid,” (Y/n) gave Jessica a small smile. “Jess?”

“Yeah, (Y/n)?” She gave her as sad smile.

“What happened with you and Sam?” (Y/n) whispered.

“A mistake that I regret,” Jess shook her head as she took in a shaky breath. “I called him a liar the last time I saw him. I… he had never been on a mission before even though they trained him from it… when he said he was going well… I didn’t believe him. How could I after years of not being called up.” Her voice broke. “I just want him to know that I’m here so he can come home and we can work things out.”

“I noticed you put on your wedding ring,” (Y/n) offered her a soft smile. “I think that’s a good start.”

“I hope so, I… I had a very hard time after the divorce,” she looked down almost ashamed. “I was not in a good place, we were both so young, and he was working so hard…. I should have… we should have talked more and communicated better. But then I… I cheated on him… everything went downhill, I became so lost…” Jessica’s voice broke.

“Sam was lost without you too,” (Y/n) whispered. “Jess… The divorce I know hit you really hard… Sam…” before (Y/n) cold say anything John burst through waving to get their attention.

“You guys need to come quick,” was all he told them.

***************

At the same time on the asteroid…

Dean found himself making calculations. Trying to figure out a faster way to drill. The only other way was to try and have the drill speed up. His hand wrote furiously, the calculations but they weren’t cooperating, or at least, it didn’t seem possible. He wasn’t sure how long he had the calculations going, but his eyes had grown heavy.

He was dozing off, his mind seeing his wedding. His heart skipped a beat as he saw (Y/n) walking down the aisle. He went to turn to Sam to be met with a picture propped up next to him.

Dean woke up with a gasp, “what the fuck was that?”

The dream felt so real yet, he didn’t want it to ever come true. Rubbing his eyes he shook the thought out of his head. Sam was going to be there, he was going to make sure his brother made it home. Sam came up and noticed how tired Dean looked. Walking up to Dean, Sam placed a hand on his shoulder.

“You ok?” He looked over Deans calculations.

“Yeah… yeah… fine, just dozed off that’s all,” Dean sighed. “I can’t seem to figure out how to get it to run faster.”

“What if you calculate the density of the asteroid? I mean, it’s mostly metal here, the drill bits are diamond so if we can calculate that…..” Sam began.

“I can reconfigure the drill to move a second faster.” Dea grabbed Sam’s head and kissed the top of it, “Genius baby brother! Genius!”

Dean put on his helmet as he exited the shuttle towards the drill. Looking inside the panel, he motioned for Benny to come over.

“Ok, we need this thing to move just a couple of seconds faster, we got to try,” Dean pointed to the wires. “You are going to help me reconfigure this thing.”

“Brother, if we try to push it too hard….” Benny gave him a small sigh.

“I know, I know the risks,” Dean sighed. “But we have to try, we have got to try anything we can to get this sucker destroyed.” Dean looked at the wiring and looked to Garth. “How much have we drill through?”

“About 210 feet Dean.” Garth told him, looking at the meter that showed how deep it was. “But she’s going to need a break for a bit or she’s going to run too hot…”

“We can maybe spare thirty minutes to cool her down.” Dean said. “Shut it down while I run the calculations. But we have to start back up as soon as I can.” Garth nodded and shut the drill for a moment as Dean recalculated everything. The other astronauts were taking samples of the asteroid and different readings. This was going to be amazing research material if they all survived. Mick walked over towards Sam.

“Hey Mick.” Sam told him.

“When this is all over with, you have my recommendation for the space station program, if you want it.” He said with a smile.

“Oh, uh, I’ll have to think about it.” Sam smiled at Mick, who nodded.

Dean jumped back as a few sparks flew, “FUCK!”

“What was that?” Benny asked, “I’ve never seen you have trouble reconfiguring a drill before.”

“It’s the way it’s set up,” Dean growled, “they used Michael’s crap calculations!”

“God I hate that guy.” Cas sighed. “Remind me when we survive to break his other hand!”

“What are we going to do?” Ash asked. “Do we keep running the way we were?”

“No,” Dean went back in and kept working, “ I need to adjust for his crap math!”

“Dean are you sure it’s a good idea?” Benny gently asked.

Dean clenched his jaw, “Don’t do that Benny, don’t do the thing that….”

“What thing?” Benny asked, playing dumb.

“Benny….” Dean gave a warning tone. “You’re acting like HIM… so cut it out.”

“Sorry brother. Didn’t meant to.” Benny sighed. “I have faith in you.”

“Good… now let me work,” Dean’s lips formed into a thin line as he tried to compensate for Michaels miscalculation.

“He’s kinda scary when he’s in this mode.” Gabriel commented. Sam sighed.

“Tell me about it.” Sam looked around.

“OK, that should do it!” Dean felt his nerves getting the best of him. “Ash! We ok to go?”

“Start her up man!” Ash hollered. Dean nodded and started the drill back up. Sam watched as the drill came to life and started chewing through the metallic asteroid.

“GARTH!” Dean yelled over the sound of the Drill, “How’s she moving?”

“She’s going good!” He called back. “I need to go get the timer for Sam so he can make sure it fits.” He headed towards the storage where the timer was waiting. As he picked it up, he looked up at the blackness around him. Sam looked over at him as a smaller piece of asteroid came crashing into Garth, shaking the asteroid they were standing on and killing Garth instantly.

Forever Tags: @anathewierdo @dekahg @marvel-af-imagines @feelmyroarrrr @nanie5 @imboredsueme @gemini0410 @aiaranradnay @babypink224221 @mogarukes @xxwarhawk @sandlee44 @shatteredabby @caswinchester2000 @supernaturalwincestsblog @lauravic @mrsambroserollinsacklesmgk @teller258316 @horrorpxnk

Dean Winchester/Jensen Ackles Tags: @queenslandlover-93 @screechingartisancashbailiff @strab0 @maaryisafangirl @deathofmissjackson @hellabrothers @fandom-princess-forevermore @x-waywardaf-x @webcraft4eveh @deansgirl-1968 @2dead2function @jjjjjjjoshdun @stella20131991 @luciathewinchestergirl @sheris532 @bobasheebaby @bella-ca @akshi8278

Supernatural Tags: @bandobsession98 @mrsdeanfuckingwinchester @fangirlsencyclopaediaofweirdness @ilovetardis @missihart23 @cloudyskylines @flamencodiva @sams-serialkiller-fetish @theas-bedtime-stories @huntingfreewill @ocholove @princessofthefandomrealm

Armageddon Tags: @thefaithfulwriter

#Armageddon #dean winchester #dean winchester x reader #dean x reader #supernatural #jensen ackles #fanfiction

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lorrainecparker · 7 years

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ART OF THE CUT with Paul Machliss on Baby Driver

Paul Machliss is a UK-based editor who has been in TV and film post since the late 1990s. Machliss was an obvious choice to edit the musically driven Baby Driver because of his long-time collaboration with director Edgar Wright – going back to their years in TV – and his numerous projects as an editor on music projects like Diana Krall: Live in Paris, The Led Zeppelin DVD, and New Order: 5 11 Live in Finsbury Park. Machliss also cut Man Up (2015), The World’s End (2013) and Edgar Wright’s previous film as director, Scott Pilgrim vs. the World.

HULLFISH: The music is so integral and so tightly woven into the fabric of Baby Driver. Can you tell me about working with the music for the film?

MACHLISS: We’d have to go way back for the beginning of the story of the music for Baby Driver. (Director) Edgar Wright and I have worked together for years – going back to when I was an on-line editor for him on the first series of his Channel 4 TV Series “Spaced”, and we would both bring in music to listen to during the interminably long render times – this is before the days of iPods – and we would have batches of CDs and try to outdo each other playing a game of “Yes, but have you heard THIS?” We both had pretty diverse and eclectic tastes in music. I think in the end, I may have won that contest, just because some of my music was quite unlistenable.

Baby (ANSEL ELGORT) tells the team they are doing the heist in TriStar Pictures’ BABY DRIVER.

Over the years, as Edgar wrote Baby Driver he chose suitable songs to suit the scenes and constructed the script in and around that music. In 2012 Edgar did a table read of the script in LA and he sent me the audio of the read and in my down-time I combined that together with his chosen songs and sound effects and we ended up with what was essentially a 100-minute radio play of the film. Then in 2015 Edgar and L.A. based editor Evan Schiff created animatics for all the major action scenes so Edgar and the stunt team could start planning out the routines and time various bits of action to specific points in the various songs. When I arrived in Atlanta in January of 2016 I filled in the remaining ‘gaps’ in the animatics and prior to shooting we were able to screen the entire film to the H.O.D.’s (Heads Of Departments) as one long animatic.

Machliss on set with his “trolley.”

HULLFISH: I have a background as an on-line editor, too. We’re probably the only on-line guys on the planet that transitioned to feature film cutting. It’s a weird path. Do you think your background as a musician helps? I grew up playing music and I think that even beyond having a built-in sense or rhythm and pace, it also gives you a great ability to sense patterns.

MACHLISS: Oh absolutely. Having learnt piano as a kid I was very comfortable with the idea of editing to music and understanding the dynamics, not only of the music, but also of the pace and rhythm of the picture cutting. Dynamics are so important. In classical music, you don’t just have everything dialed up to ten the whole time. You have moments of quiet. You have moments of emphasis. There are fast moments and slow moments. Picture editing also has to be like that. For example in Baby Driver, there’s a scene of Baby and Debora – his girlfriend – in the diner. Edgar had the whole thing beautifully covered, of course. But there’s a point when she asks him about his mom and he starts to remember her and these powerful emotions play over his face. I didn’t want to cut away. We had this great tracking shot into him, and even though Debora continues talking and asking him questions, I just stayed on Ansel for a long time – maybe 20 seconds. It felt like the right thing to do. The dynamics of it were right to slow down at that moment. I showed that cut to Edgar and he loved it. He loved just holding on that shot.

(l to r) BTS – JAMIE FOXX as Bats, KEVIN SPACEY as Doc, Director EDGAR WRIGHT, FLEA BALZARY as Eddie and LANNY JOON as JD on the set of TriStar Pictures’ BABY DRIVER.

HULLFISH: You were actually on-set for almost the entire movie. Tell me a little about why that was and how it worked.

MACHLISS: As the editing played a role complementary to that of the filming – particularly for a film of this nature – Edgar requested that I work on set so we could check that everything was falling into place as the scene was being constructed and shot. Practically, this meant that I had a little trolley (wheeled cart) donated by the sound department and I had my laptop running Avid Media Composer along with a monitor and a few hard drives. I was connected directly to the video assist’s hard drive via an ethernet cable and created a network between my computer and his hard driver. He was recording the video tap from the Panavision cameras and within a few seconds of Edgar yelling “Cut” I could see his new Quicktime file show up on my Finder window. I’d use AMA-linking to instantly move the file into an Avid bin and I’d cut it in immediately on to the timeline. As we were shooting on film the picture quality wasn’t the same as what you would get from an Arri Alexa however it was good enough to edit with. I didn’t get to see the real full-res files until I was back in the cutting room.

Screenshot of the Avid timeline for Baby Driver

HULLFISH: You guys were shooting scenes and takes and action out of order, so were you cutting the video-assist footage over the animatic that had been done?

The animatic can actually be seen in this shot of Machliss’s edit cart.

MACHLISS: Yes. I had all of the music on my system already and I had the animatic broken up into scenes, so I could cut the video-tap footage in and make sure that it fit properly. Because Edgar had planned all of the scenes very intricately around these songs, it wasn’t like a normal movie, where if a shot went a second or two long, you could just let it go. Every line or beat in a song was a shot and we couldn’t change the music, so each shot needed to end before the next shot could begin. We had top choreographer Ryan Heffington on set, and even actions like setting a loaf of bread down on the counter had to be counted in: “5, 6, 7, 8…” and that shot needed to be complete at the right time so we could go to the next shot for the next line.

Director Edgar Wright on the set of TriStar Pictures’ BABY DRIVER.

Occasionally Edgar would turn to me and ask, “Do we have it, Paul? Are we good?” And, if I was quick enough, I’d already have it cut in and I could say, “Yes. We’re good.” It was really cool to be on set and part of the crew. Usually, we’re locked away in our dark, little rooms and the editing is just this kind of dark art that nobody understands. I think the crew – at the beginning – thought I was this strange oddity: “What’s that guy doing with the laptop over there? Why does the director keep asking him if we got it?” But eventually, they could see and understand what I was doing. There was a scene where Ansel’s in the parking lot and trying to hide from the police and simultaneously hot-wire a car. It was a full day there shooting that scene and at the end of it, they could gather some of the production staff around the monitor and view that day’s material cut together. Usually the crew doesn’t get a chance to see that. Normally the director yells ‘Cut!’ and the next time the crew sees anything, it’s at the premiere. They were actually able to see it cut in place and working before we even wrapped for the day. Some of them were probably thinking, “What kind of dark magic is this?”

HULLFISH: That must have made for some complex on-set audio.

Ansel Elgort and director Edgar Wright on the set of TriStar Pictures’ BABY DRIVER.

MACHLISS: All of the actors were wearing earpieces and they were being fed the music so they could sync their actions to it if they needed to. Edgar had headphones that were being fed music into one ear and dialogue into another. Everybody needed to have a different feed of audio with different splits. Sound recordist Mary Ellis also was generating time-of-day timecode while the music playback was sending me the timecode associated with the WAV file of the track. All of that was needed so my 1st Assistant Editor Jerry Ramsbottom could sync back the video-tap footage I was editing with to the final scanned telecine rushes that we would get a few days later. Jerry would use that timecode – and sometimes resort to eye-matching – to cut the scanned film footage back over the video-tap footage I was using. It was a very complex audio set-up and we only really worked it out on the first day of our first big dialogue scene we shot in the diner. Edgar asked if he could have the split audio feed in his cans – plus we needed to make sure the actors could hear the music in their earpieces which had to be controlled independently of the music being sent to Edgar’s headphones. The dialogue-only track had to be recorded to the Video Assist machine but then I also needed a split feed of music and dialogue for the Avid. We were all gathered in this back room trying to figure out how to split up the audio feeds and what needed to be upstream and what needed to be split at some other point. We were all hustling to figure out a way to do it. Meanwhile on set they’ve already started to shoot the scene so we had to rig this up pretty quickly. But we eventually figured it all out and that’s the way we ran the audio for the rest of the shoot.

(l to r) Lily James, Director Edgar Wright and Ansel Elgort on the set of TriStar Pictures’ BABY DRIVER.

HULLFISH: It’s interesting that you were shooting film. I grew up in Rochester, NY, the home of Eastman Kodak, so I’m all for that.

MACHLISS: Edgar has always been big on film. There’s just something about the look of it. It’s the imagery we remember from our childhood, watching E.T. and Close Encounters and Raiders of the Lost Ark. We actually did a bunch of side-by-side tests. We had a screening room in Atlanta and we shot film and then digital with the ARRI Alexa and we projected them side-by-side, in a blind test. Every time, Edgar and I would point to the real film footage and say, “That one! Absolutely, that one!” We shot about 90% of the film on 35mm. There were some night scenes where the Alexa could shoot in lower light, so we used it there and there were also some very tight spots where we needed to get a camera, and we used the Alexa Mini for those shots as well.

Baby (ANSEL ELGORT) is chased by the cops in TriStar Pictures’ BABY DRIVER.

It was really important for Edgar to capture as much of this as possible in-camera. Almost all of that car chase stuff is completely real. Very little is CGI. I actually read some reviewer complimenting a CGI shot of the car spinning 180 degrees and then back 180 again, but that was completely practical. I’ve got to hand it to the stunt drivers and coordinators. We shut down a whole section of the I-85 in Atlanta to get that opening car chase footage for the “Bellbottoms” song. We actually had to shut it down twice, because we didn’t get it all the first time. For two separate Sundays, one half of Atlanta couldn’t get to the other half of Atlanta. We rarely shot with green screen. I’m sure the insurance people and the health and safety people were just saying, “Shoot with green screen! Use CGI crashes!” But Edgar wanted that stuff to look real.

Car chase from TriStar Pictures’ BABY DRIVER.

HULLFISH: So you get done cutting on set and then you have to go back to do the director’s cut.

MACHLISS: Getting the director’s cut done was very tight. Because I’d been on-set the whole time, I didn’t really get to clean up the scenes. Usually, if you get a scene cut at the end of the day, and it’s not quite right, you can take some time the next day and take care of whatever the issues are, but every day, I needed to be cutting exactly what they were shooting, so there were definitely some scenes that needed more work than they would have if we had been doing a more traditional edit. And then when we got back to London, Jonathan Amos joined us. Jonathan and I had worked together before on Scott Pilgrim vs. the World and he came on board to primarily work on the action sequences. He picked up on where I left off on the scenes from on-location and did a fantastic job. While he was doing that, Edgar and I were working on story and dialogue and Edgar would go back and forth between the two cutting rooms. The schedule for production was that we were shooting in Atlanta from (February to May), then the director’s cut which lasted until early August. We did a few screenings for test audiences and the feedback we received was increasingly positive. Off the back of that we were able to get the studio to approve a few more days of additional photography to improve a few sections Edgar wasn’t totally happy with.

BTS/ Director EDGAR WRIGHT with Lily James and Ansel Elgort (center) on the set of TriStar Pictures’ BABY DRIVER.

HULLFISH: What did you reshoot or add?

MACHLISS: We didn’t reshoot any driving stuff. It was mainly story. We concentrated on the relationship between Baby & Debora. We embellished the final scene between Buddy and Baby. Back in London we also re-worked the very ending in the edit to add a hint of ambiguity.

HULLFISH: I would totally want to see a continuation of that story.

MACHLISS: The studio’s definitely asked Edgar if he could write another one. The irony is that we talked so much about having the audience go see this movie because it is original and not a remake or a sequel, and then, what happens? They ask for a sequel.

HULLFISH: I’ve talked to many editors about these audience screenings. You get notes back, but you don’t really need those do you?

MACHLISS: No. Not at all. I remember being at a screening of a film I worked on a few years back – ‘Man Up’ – which starred Simon Pegg and Lake Bell… there’s a scene at the end where Simon’s doing a little monologue and I was sitting in the back of the theater and the director and I could hear people slowly begin to sniffle. It’s so powerful when you realize you’ve affected an audience. People were really getting a little moist around the eyelids. You can definitely tell the moments in the movie that you have the audience’s attention and the moments when you’re starting to lose them.

Doc (KEVIN SPACEY) tells Baby (ANSEL ELGORT) he will do the next job, and he will make a lot of money in TriStar Pictures’ BABY DRIVER.

HULLFISH: You had some great actors and definitely a great director, so you had some wonderful performances to begin with, but there are still times when you have to mold a performance or you have to regulate the temperature of a performance in a specific scene for one reason or another.

MACHLISS: That’s true. After the first test screening we felt there were a few scenes that could be improved. We felt we could add some more warmth or and have the audience connect better with the characters. Edgar and I went back in and dug around for some reaction shots and some slightly different readings of lines. Without really changing the dialogue or the story – because we really liked the structure of the scene and the way it played and we didn’t want to change that – we were able to really change the audience perception of the characters based on just a few reaction shots and changes of takes.

(l to r) Baby (ANSEL ELGORT), Bats (JAMIE FOXX), Darling (EIZA GONZALEZ) and Buddy (JON HAMM) decide on doing the heist in TriStar Pictures’ BABY DRIVER.

HULLFISH: What about the story and the structure of the story? Did that change, or had it really been worked out so well in the “radio play” version and the animatic that the story issues had been dealt with before shooting?

MACHLISS: No, the table read was really done with a version of the script that was altered quite a bit from the final version of the film. There was four years between that table read and the shoot so for all sorts of reasons things will and can change. But Edgar constructs a very tight script so he’s able to seamlessly able to deal with any issues that arise when out of necessity changes need to be made.

HULLFISH: Were there any editing surprises as Jon took over the big action sequences and stunts?

Buddy (JON HAMM) and Darling (EIZA GONZALEZ) find out why Baby always listens to music in TriStar Pictures’ BABY DRIVER.

MACHLISS: We did find that there were some things that we had planned out in the animatics that just couldn’t happen. You drop in a drawing of a car crashing and you cut that in for two seconds and then when you actually run two cars into each other or try to flip a car over for real, you realize that the laws of physics come in to play and it actually takes much more time … there’s just no way to make a car do what you want it to do in the space of time you’ve allocated in the song.

HULLFISH: Well, all of that action was all timed to the music, so what happens then?

MACHLISS: We had to get creative. We had to make some cuts in the music. Sometimes Jon had to lengthen the song and sometimes we’d have to loop a section. We’d find some spot in the song and we figured we could loop it cleanly over a little riff and once it was mixed in with all the other sound effects the audience would never be aware of it.

HULLFISH: It was great talking to you today. Thanks for sharing.

MACHLISS: My pleasure.

Watch the first six minutes of Baby Driver:

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 makes 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.”

The post ART OF THE CUT with Paul Machliss on Baby Driver appeared first on ProVideo Coalition.

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