Maestro editor Michelle Tesoro, ACE is not any stranger to slicing films directed by actors. In reality, it was whereas she was working with actor Sean Penn on his movie Flag Day that Penn instructed Michelle that he texted buddy Bradley Cooper that she was a “goddess in the cutting room.” Clearly, that pitch labored as Cooper entrusted Michelle with the editorial duties for his much-anticipated biopic.
Summary for Maestro
Maestro chronicles the fearless love story and sophisticated lifelong relationship between music legend Leonard Bernstein and his spouse Felicia Montealegre Cohn Bernstein.
In our dialogue with MAESTRO editor Michelle Tesoro, we discuss:
- Putting collectively a proof of idea
- When Sean Penn texts his buddies about you
- Taking notes from Spielberg and Scorsese
- Quietly doing sound design
- Who the actual Maestro is
Listen when you learn…
Editing Maestro
Matt Feury: Before Maestro, your final two initiatives have been The Queen’s Gambit, which confirmed what a implausible editor you might be, and Flag Day, directed by Sean Penn, which confirmed you’ll be able to work nicely with actors who turn into administrators. How did that every one parlay into you getting the job slicing Maestro for Bradley Cooper?
Michelle Tesoro, ACE: Bradley and Sean are buddies. I imagine they labored collectively on Licorice Pizza. I really feel like they’ve identified one another longer than that, though I don’t know that for a reality. I used to be working with Sean on Flag Day and I bear in mind slicing with him at Wylie Stateman’s place at 247SND in Topanga, and we have been utilizing their predominant combine stage as a slicing room. I plugged in my laptop and my Avid into their factor so we may lower with this enormous display screen as a result of it was nonetheless 2021 and everybody was making an attempt to social distance.
I bear in mind we have been slicing and Sean turned to me and mentioned, “I just texted Bradley Cooper that Michelle Tesoro is an editing goddess.” I assumed, “Okay, that’s weird, but all right.” What it translated to was that when Sean was screening the ultimate lower of Flag Day for some buddies, Bradley noticed it and requested about me. So, we met and labored on what we now name the proof of idea for Maestro. It was a sequence of digicam exams that we usual right into a proof of idea for the movie.
MF: The film is named Maestro, so presumably it’s about conductor and composer Leonard Bernstein, however it’s greater than that. As Bernstein’s spouse, Felicia, elements into the story each bit as a lot as he does. What did Bradley say to you about what he needed to give attention to on this movie and what he needed audiences to know and to really feel about these two folks?
Michelle Tesoro: I feel he needed to inform a narrative about marriage and he needed to indicate simply their specific form of love.
MF: Knowing the place to start out movies is hard normally. Especially biopics, the place you need to encapsulate somebody’s life. It might be troublesome to kind that out. You begin with a quote from Bernstein, adopted by a scene of him as an older man. He’s taking part in the piano at dwelling in entrance of a digicam crew, and he’s moved to tears by this piece that he’s taking part in.
He tells the crew about how a lot he misses Felicia and that he typically sees visions of her round the home. It’s a fairly well-thought-out strategy to begin issues. Were there different issues that you just tried and that’s the place you ended up? Or was it shot and edited as scripted?
Michelle Tesoro: That specific scene was not within the unique opening of the script. Bradley initially needed to open it on what’s now the subsequent scene, which is the place the cellphone is ringing in the dead of night and we overhear a younger Bernstein get the decision about being the substitute and working out into Carnegie Hall.
We ended up beginning with that interview scene, which is in shade. They truly filmed that whole interview close to the tip of manufacturing. If you’ve seen the movie, you’ll know we additionally shut with that interview, the place Bernstein is within the purple sweater in 1985.
Initially, we thought that was going to be the tip. We have been going to inform the story chronologically. But we determined that we would have liked to floor the movie within the thought of Lenny and Felicia. And we felt just like the interview scene did that. It was vital to try this at first and to wrap it up on the finish as nicely.
MF: The quote from Bernstein that opens the movie goes, “A work of art does not answer questions, it provokes them; and its essential meaning is in the tension between the contradictory answers.” When you learn the script, the murals on this case, what questions did it provoke in you that you just both requested Bradley or simply tried to resolve by yourself?
Michelle Tesoro: I don’t suppose I had quite a lot of questions. I feel what the quote represents is how Bernstein lived a lifetime of contradictions. His life was like a murals. He cherished everybody and every little thing and needed to do every little thing.
In the movie, we traverse quite a lot of time intervals of their lives. I feel while you’re interested by contradictory actions and contradictory emotions, the quote is supposed so that you can contemplate what which means. How did these contradictions give his life that means? Don’t all of us typically do contradictory issues? It represents residing a dynamic life.
Bernstein lived a lifetime of contradictions. His life was like a murals.
MF: The final interview I did was with editor John Poll about The Color Purple. I don’t normally ask questions concerning the producers of a movie, however his producers have been Steven Spielberg, Quincy Jones, and Oprah Winfrey, so I needed to make an exception. With Maestro, not solely do you’ve gotten Bradley Cooper as a producer, however you’ve gotten, once more, Steven Spielberg and Martin Scorsese, amongst others. Tell me concerning the affect they’d on the movie and any interplay you might have had with them, both by way of notes or instantly within the slicing room.
Michelle Tesoro: Steven had quite a lot of interplay with us after Bradley had completed. Bradley was very open about the place we have been within the editorial course of with all people, together with Steven. We didn’t watch for a full director’s lower to be finished earlier than we confirmed all of the producers a lower. We would present bits and sequences to Steven. He and Bradley had a really shut rapport. They would textual content messages forwards and backwards. I feel there are quite a lot of interviews the place they discuss all of the textual content messages they despatched. I feel iMessage and WhatsApp is Bradley’s communication of selection.
They had a really energetic interplay and Steven gave us quite a lot of good concepts concerning the movie’s strengths and what wanted assist. Bradley and I might take these concepts and take into consideration how we may handle them individually and the way we needed to deal with them in Bradley’s particular fashion of storytelling. We weren’t making an attempt to make a Steven Spielberg film. We have been making a Bradley Cooper film. We have been making an attempt to make a film that might characterize Letty and Felicia, as a result of, as you realize, typically a movie tells you what it wants and you’ll’t drive loads onto it.
We weren’t making an attempt to make a Steven Spielberg film. We have been making a Bradley Cooper film.
Having mentioned that, Steven was a really energetic producer. With Marty, we confirmed the movie to him a bit of bit later within the course of. He had a number of notes, however the movie was in a special stage at that time. We had labored out quite a lot of issues and it had music and sound work and all of the stuff that makes it a special expertise than taking a look at a tough lower.
Marty had suggestions and we did the identical factor that we did with each different producer. Fred Berner, Amy Durning, and Scott Stuber at Netflix all the time prefer to hearken to what everybody has to say. Then, we apply our strategies to deal with their ideas.
MF: Immediately following that opening scene, which is shot in shade with a 1.85:1 facet ratio, you leap again in time to a youthful Bernstein and it’s in black and white with a 4:3 ratio. Then it goes again to paint, however nonetheless 4:3. And then, after Felicia passes, it returns to paint in 1.85:1 Please inform me why Bradley needed to go that route. Was the altering facet ratio ever debated throughout post-production?
Michelle Tesoro: No. I feel Bradley had considered it in pre-production. When I first began working with Bradley, we labored on that proof of idea I discussed earlier. With all these digicam exams, we have been experimenting with completely different facet ratios. I feel he felt just like the story lent itself to foreground and background. He additionally preferred utilizing your complete top of a container, you realize, and never essentially needing your complete width on a regular basis.
I feel he additionally needed to inform the story by way of their well-documented life. If you lookup their life, it’s so nicely documented and you’ll see them in black and white photographs. He would see them in a 1.33:1 video and suppose maybe if we stayed inside the ratio and medium through which we’d have seen them at the moment interval, it will simply give extra of a way of being with them.
MF: In the primary scene of younger Lenny Bernstein, he will get a name to fill in on the New York Philharmonic in Carnegie Hall for a dwell broadcast. He jumps off the bed after which what follows is a oner of kinds. It transitions to an overhead shot following him by way of the condo into the hallway after which flies across the live performance corridor and backstage. Can you give me a rundown of how that got here collectively and the strategies you used to drag it off so nicely?
Michelle Tesoro: There are a few invisible edits when he will get off the bed and runs to the balcony of Carnegie Hall, after which once more when the digicam is flying round backstage. That thought had been residing in Bradley’s thoughts for years. I feel it’s an instance of a director having a selected imaginative and prescient, having the ability to inform all the division heads what it’s, and everybody executing precisely as he had imagined it.
At the tip, there’s a dissolve proper on what’s what we name the downbeat relaxation. Bradley needed to seize a second of the aftermath of getting succeeded in Carnegie Hall. He wasn’t positive on the time the place that scene was going to go, however he felt prefer it was vital to seize. There have been occasions after we had that second on the finish of the movie. We have been by no means positive, however we included it as a result of we needed to make it possible for the viewers knew that there wasn’t any query of how profitable that night was.
MF: In that scene, earlier than Berstein walks out on stage, you hear a radio announcer explaining what is occurring. The sound is handled as if it’s diegetic. The voice sounds prefer it’s popping out of a radio, however there’s no radio seen within the backstage space. Was that one thing you added in later to assist present context for what was taking place?
Michelle Tesoro: Bradley wrote that in as a result of that’s the precise dwell broadcast. If you go to YouTube, you’ll be able to hear the viewers within the background clapping halfheartedly, and Bernstein conducting, as a result of it was a dwell radio present. So Bradley wrote that within the script. It was all the time part of it.
I feel we performed with the concept of the radio being within the room and it form of went out and in. But I feel it kind of works as a voiceover and thru the magic of modifying you might be in two locations without delay. You might be at dwelling listening and in addition experiencing it from Bernstein’s viewpoint.
MF: There is quite a lot of exposition on the subject of encapsulating somebody’s life. How did you be certain that the viewers knew sufficient about Bernstein and Felicia, however to not the purpose that it harm the movie?
Michelle Tesoro: I feel we all the time battle with that, don’t we? Luckily, we had units such because the CBS announcer to provide you that backstory in a artistic, thrilling method. In the dialog as nicely, particularly after we meet Felicia, we get to know a bit of little bit of who they’re.
There’s a scene the place Leonard and Felicia are standing on the window attending to know one another. As a viewer, you’re getting expositional info, however you’re additionally getting emotional info. You’re seeing that they’re connecting, but you’re additionally understanding who they’re at that second. We needed to juggle that all through the movie as a result of we lined many many years of their lives. We needed to hold replanting info, saying, “This is who they are now. This is where they’re at.”
MF: Maestro jogged my memory of a discussion I had with Kevin Tent, ACE and Alexander Payne about The Holdovers. In that dialogue, Kevin talks about when to not lower. Maestro has quite a lot of scenes with little seen modifying, and it’s usually between Leonard and Felicia. These are intense, dialog-heavy scenes. Was that a facet of the movie that was dedicated to in manufacturing? Or have been there alternate angles, inserts, or cutaways that you would have used, however didn’t?
Michelle Tesoro: Most of the time, they have been dedicated throughout manufacturing. I feel Bradley needed to decide to how he thought the scene ought to play out within the movie. I feel the longer we shot, the extra dedicated to that fashion he was. There have been only a few situations the place we had a boatload of protection that we may lower to. When you watch the movie, if you happen to see a scene that has a number of completely different setups and angles, then that’s what the protection was. And we used all of it.
I like the concept of each edit being invisible. I don’t need an viewers member to be interested by the modifying. But I suppose by not modifying you might be additionally making a dramatic level concerning the modifying. I like what Kevin mentioned about it. It’s true as a result of the concept of this movie was extra about discovering the rhythm of your complete movie, not simply the rhythm created in a single scene. It’s about how modifying creates a rhythm all through the entire movie.
MF: Did you depend on issues like splits and Animattes and Fluid Morphs to fine-tune these lengthy dialog scenes?
Michelle Tesoro: Sometimes, however very hardly ever. The solely time possibly we performed a bit of bit with the instruments of time, as I prefer to name them, was when Leonard and Felicia have been first attending to know one another within the little theater. She’s performing her play and so they’re taking part in the kiss for the primary time. There are edits there, although, if you happen to’re trying and paying consideration. The Thanksgiving Day sequence was only one take. We solely received 4 takes of that, I feel. I picked one take and I put it in and that was it.
MF: You picked a very good one. Some of those scenes look like they required some shut collaboration between you and Bradley throughout manufacturing. Where have been you slicing? Were you on set? How have been you speaking with him throughout manufacturing?
Michelle Tesoro: I used to be not on set. Bradley retains a closed set for efficiency causes, so there aren’t any distractions. Also, we shot this from 2022 to early 2023, so there have been nonetheless quite a lot of COVID protocols. I didn’t should be on set. But that doesn’t imply that we weren’t in shut collaboration. Sometimes he simply needed to speak on FaceTime. So we did quite a lot of that.
It was quite a lot of forwards and backwards throughout manufacturing whereas he was capturing. Bradley all the time made time to take a look at no matter I needed to indicate him. If he needed to see one thing, he would ask for it and it will be a direct collaboration.
He noticed a lot of the movie edited as we have been doing it. The solely delay was simply ready for the movie to be processed. For the black-and-white movie, it was possibly two-and-a-half days. The shade took possibly two days. But you needed to wait as a result of the movie needed to be despatched to FotoKem in L.A. and put in a shower, and there was just one bathtub for black and white per day. If we missed the drop-off, we misplaced a day.
Sometimes I felt a bit of behind Bradley and needed to know the way he needed one thing to chop to a different. I stored making an attempt to get video clips from the set for reference. It wasn’t till the very finish of manufacturing that somebody lastly mentioned, “Yeah, we can send this to you.” Next time, now I do know precisely what to ask for, nevertheless it’s arduous when manufacturing has loads to cope with. The final thing they need to cope with is one other drop-off to editorial.
MF: That Carnegie Hall scene isn’t the one elaborate visible within the movie. There’s a scene with a dance sequence set to a tune from On the Town. Again, it’s just like the Carnegie Hall sequence. You’re breaking the foundations of time and area. Leonard and Felicia are sitting within the viewers and all of a sudden they’re on the stage with the sailors, after which Lenny is without doubt one of the sailors. I’m to listen to the way you executed all that so completely.
Unlike Carnegie Hall, this scene has a really particular undertone. You can see that Felicia is starting to know that Lenny may have the ability to surrender the foolish music, however he won’t ever surrender who he’s, which is a closeted homosexual man. I’m thinking about how you’re employed to get that story level throughout in a scene with no actual dialog.
Michelle Tesoro: Subtext is crucial factor to chop with. In this case, you get the subtext from the performances. I can’t say sufficient about how superb Carey Mulligan is on this movie. Her efficiency sells it. It lets you know the way she’s feeling, and so they’re difficult emotions!
I additionally suppose the dance itself tells the story. Bradley used it as a strategy to present you the way they’re going to return collectively and be pulled aside of their life. They’re each going to be on this combine. It’s additionally vital to notice that Lenny didn’t solely need Felicia. She wasn’t the one girl in Lenny’s life. He cherished different girls as nicely. I feel their state of affairs could be thought-about an open marriage now.
I feel that the sequence was very nicely choreographed. It was Jerome Robbins’s choreography, however Justin Peck and Bradley collaborated to search out elements of the actual choreography from these musicals that might characterize the story that Bradley was making an attempt to inform. Technically, it’s all very exact.
We have been working with the visible results crew Phosphine and John Bair was our visible results supervisor. They have been all the time on set after we have been capturing these items. We would see the previs of it nearly instantly after it was shot, so I knew how leaving the picnic desk and coming into the theater corridor was speculated to play. From that time on, it was nearly slicing the ballet, which is all the time so enjoyable.
MF: With a film known as Maestro, you’ll suppose temp rating may be a problem. Everyone’s course of is a bit of completely different. Knowing that Bernstein’s music was already within the script, have been there tips or guidelines about how one can spot his music?
Michelle Tesoro: Most of the cues have been already written into the script. There have been a handful that weren’t, however Bradley had them in his thoughts. He mentioned, “Here are the tracks that I want to use, I just don’t know where they should go yet. But please load them into the bin.” As we assembled and honed the reels, we’d naturally discover a place for a cue. Usually, it was Bradley driving that. But we didn’t begin that till we have been snug with the place the reels have been. Once we had the music that was already written into the script positioned, we went again and did a complete cross the place we tried completely different musical cues elsewhere.
MF: Did you solely have the completed compositions to work with or did you’ve gotten entry to grasp recordings? Could you manipulate any stems if you happen to wanted to?
Michelle Tesoro: We didn’t have any stems. We simply had the grasp recordings, and quite a lot of occasions that’s superb. In the start, after we have been working with it, we would have liked to really feel whether or not the cue was acceptable. We had to determine if it slot in with the timeline of the story. I feel that was key. But the tone was additionally outstanding.
Once we began the blending course of, Bradley determined, “Hey, these are the cues that we’re going to re-record so that we can have stems.” In the start, I feel we had three sequences that have been recorded dwell. You’ve heard the story of the sixty microphones. But there have been solely three of these the place we had dwell musicians and we had entry to completely different stems and issues like that.
For every little thing else, we had the two-track masters from precise Bernstein-conducted music. At that time, we mentioned, “We want this cue because it needs to match what we recorded.” When we received on the stage, we found there was an enormous discrepancy in sound.
One can take a grasp and sweeten it to try to match it, which we did within the case of the Adagietto of Mahler’s Fifth. We have been in a position to try this there, and it’s fantastic to listen to. You can hear Bernstein’s breaths. It’s beautiful to have his ghost in there a bit of bit. But for the opposite cues, particularly in the event that they have been a part of the rating, it was nice to have a rerecord and have the ability to fill the room that method.
MF: We talked about methods to tighten scenes visually, however we didn’t discuss doing it for dialog functions. The black and white and the 4:3 parts make Maestro really feel like a film from the Nineteen Forties, and the dialog is form of in that fashion as nicely. It has a speedy tempo. The characters’ traces usually run proper up in opposition to one another, overlapping. Was there something you probably did to create or reinforce that fashion? Either method, did that fashion current any challenges for you in doing the modifying?
Michelle Tesoro: No. As the director, Bradley is controlling the tempo of the scene. I didn’t must do any of that. I feel that was a part of their pure dialog and one thing that I imagine they needed to implement with their efficiency.
Now, did this current a problem to sound? Probably. If we weren’t pleased with the overlaps, which may have triggered a difficulty. But we preferred the overlaps. We wouldn’t have put them within the movie if we didn’t like them. I feel that’s extra of a query for the sound guys than for me.
MF: As far because the sound design goes, it felt like there was a acutely aware selection to put again on the sound design. I seen that in a scene the place Felicia’s having lunch in a restaurant. Even although the restaurant wasn’t too busy, there wasn’t quite a lot of restaurant noise. Also, there’s a scene the place Lenny is taking Felicia to a physician’s appointment. Again, it was very quiet. What was your method to the sound design for this movie?
Michelle Tesoro: Bradley could be very specific concerning the sound. I feel there was an effort made to not have any distractions. You need to give attention to the scene at hand. There’s one thing about placing in a sound that makes it really feel prefer it’s only a regular day, as a substitute of getting the give attention to what the characters are saying. I feel that Bradley simply didn’t need to fill this film up with a bunch of sound results.
I didn’t notice this till I used to be on a panel with Tom Ozanich, who was certainly one of our re-recording mixers. He was speaking concerning the scene at Cherry Lane Theater and the way they needed to clear up all of the sound as a result of the black-and-white digicam was so noisy. They needed to fill the sound again in. But what he did is so refined by way of the air within the room, the sensation of the area, and the way a lot their voices echo off the partitions. That’s a scene that doesn’t have any music till the very finish. But design-wise, it has issues in it.
I bear in mind we discovered this buzz from the ghost gentle that’s within the heart of the stage. It comes and goes. We stored that from our tough lower into the ultimate combine. We tried to be very delicate with the sound design, simply as we did with the slicing. We have been minimalist. We determined it was extra vital to be current as a substitute of simply filling it up with stuff.
MF: As far as needle drops go, there are two that come to thoughts. Late within the movie, “It’s the End of the World as We Know It (And I Feel Fine)” by R.E.M. performs from Lenny’s automotive stereo as he pulls as much as an outside music venue. The snippet from the tune we hear is after they shout “Leonard Bernstein”, which is quite a lot of enjoyable.
It feels secure to me to imagine that you just had that needle drop locked down earlier than capturing. But on the similar time, I ought to ask about the way you included that tune. Was it all the time nailed down from the start or was it a course of?
Michelle Tesoro: It was not. I bear in mind Bradley and I have been slicing and he mentioned, “Let’s try putting this in” and it was only a little bit of a chuckle. I bear in mind we lined it up in order that when the automotive pulled round, you’ll hear “Leonard Bernstein”, and he simply laughed. He loved himself.
Bradley mentioned, “Is it too much?” and I instructed him, “No.” I do know you’re considering, “Shouldn’t we see how he’s reacting?” however what’s higher to be on? His face, or the again of the Jag the place his license plate says “MAESTRO1”? Clearly, that is somebody who’s going to be taking part in a tune that mentions him.
MF: I like that you just guys discovered that within the slicing room. And I’m glad you went with it as a result of it’s an amazing break at that time within the movie. It’s a pleasant little be aware, no pun supposed. Early on, we talked about utilizing the radio announcer to supply context. But one thing you didn’t do was titles for characters, locations or intervals. Was that ever thought-about? And if it was, what have been the elements for or in opposition to doing that?
Michelle Tesoro: They have been thought-about. It wasn’t something that Bradley deliberate within the script. It was certainly one of this stuff the place we had a model of the lower and other people have been nervous that the viewers would get misplaced in time. We tried it. We put in dates after we made an enormous time leap. All we put in was 1971 or 1985, or one thing like that. It made folks give it some thought extra. It made them focus an excessive amount of on what yr it was and what that meant as a substitute of specializing in the emotional leap that we have been making an attempt to make.
When you’re speaking a few relationship, particularly an extended relationship that spans time, it doesn’t matter that one thing occurred ten years or 5 years aside. It’s nonetheless themes that proceed of their relationship. We felt like these jumps and emotional ties have been robust sufficient that we didn’t have to inform you that it was 1970. That felt very arbitrary. It truly didn’t matter. So why current an viewers with one thing that doesn’t matter? You’re simply going to remove out of your predominant emotional prepare of thought.
MF: I requested about starting the movie and the challenges concerned with that. I ought to most likely ask you concerning the equally difficult facet of closing the movie. At the tip, you come back to the interview that Bernstein was doing firstly of the film. He says a number of extra issues about Felicia after which asks the crew if they’ve any questions. Then it cuts to younger Felicia in black and white and searching into the digicam, and she or he turns her again and the title Maestro comes up. Then it cuts to black. The credit begin, and you’ve got footage of the actual Lenny Bernstein conducting. Please inform me the way you got here to that ending. And I’ve to ask, is Felicia the actual maestro?
Michelle Tesoro: You hit the nail on the top proper there. Bradley could be so comfortable that you just received that as a result of I feel that’s the thought behind the place that title lands. We needed to state that she is the actual maestro. It’s extra of a reinforcement that the story isn’t essentially about Lenny and his profession. It’s concerning the two of them and her influence on him.
MF: We began our discuss discussing working with Sean Penn and now Bradley. This isn’t your first time working with a director who’s additionally an actor. Did you discover something particular about his notes or course that might communicate to his expertise as an actor?
Michelle Tesoro: Number one, I by no means had any questions on efficiency. Usually, they’d shoot and he would cease capturing after he received it. We normally used both the second-to-last take or the final take. In phrases of that, there have been by no means any efficiency notes. I by no means needed to handle something like that as a result of it was so apparent to me within the footage. Bradley doesn’t come at filmmaking from simply the appearing perspective. He has spent quite a lot of time in varied modifying rooms all through his profession, even from his time on Alias. He’s all the time been attending to know administrators and seeing how every little thing is finished. I haven’t been in his sneakers, so I can’t communicate to his expertise personally. But I do know that he’s concerned in each facet. When I labored with him, it was very very similar to working with a director who occurs to be a really profitable actor.
MF: This is an enormous film and one which had quite a lot of expectations positioned on it. What was the largest problem for you in slicing this movie?
Michelle Tesoro: I feel the problem for me was to alter my thought of how a lot to chop. Not that I used to be slicing only a lower. I all the time adhere to the ethos of slicing when you need to lower, when it requires it. But this was one thing that I feel I needed to additional restrain myself. And that restraint allowed me to open myself up extra to the performances and having the movie inform its story. I needed to open my ears and let the movie inform me what it needed to do.
I had to take a look at the footage once more and say, “What is essential and what is the strongest? And how can we use that in the least amount of cuts possible?” Not solely that, however I needed to discover the waves and the rhythms within the movie as a complete as a substitute of simply specializing in sure scenes. We didn’t must give attention to sure scenes after they have been only one or two photographs, proper? The problem was to inform a complete story that might span many years and hold the tempo going by way of the entire thing.
MF: I requested if Felicia was the actual maestro, however I feel it’s you, Michelle. That was a tremendous composition you place collectively. Congratulations.
Michelle Tesoro: Thank you, Matt.
