The Rough Cut: Editing Donald Glover’s “Mr. and Mrs. Smith”

Mr. and Mrs. Smith editor Greg O’Bryant was not simply becoming a member of the most important mission of his profession with this new Amazon sequence, he would even be the “new guy” on a well-oiled machine of storytellers from the TV sequence Atlanta.  Taking the prospect paid off for Greg.  Not solely did he get to strive his hand at motion, however he obtained to have his title within the credit twice (Greg additionally co-produced)!

Plot abstract for Mr. and Mrs. Smith

Turning the premise of the 2005 function movie inside out, right here John and Jane are two strangers-turned-partners who perform their spy-like duties beneath the quilt of being married software program engineers.  Taking their orders from an unseen activity grasp they name “Hihi”, the 2 study the ropes of being “Smiths” whereas studying to like, and considerably belief, each other.

In our dialogue with Mr. and Mrs. Smith editor, Greg O’Bryant, we speak about:

• Using rating as your “tonal buoy”
• Turning the tables on the 2005 movie of the identical title
• Making a relationship sandwich
• Film as a director’s medium, TV as a author’s medium
• Where a grumpy PA can affect the work

Listen when you learn…

Editing Mr. and Mrs. Smith

Matt Feury: Greg, for these questioning, how is that this sequence completely different or just like the function movie from 2005? 

Greg O’Bryant: Great query, as a result of it isn’t very comparable. Technically, it exists in the identical cinematic universe, which there are some hints about in episode 4. But it was everybody’s intention to inform a special story with a special tone.

One of the issues that Francesca Sloane, the showrunner, talked about was the ‘storytelling sandwich’. That means the characters’ relationship is the bread and the spy stuff is the meat of the sandwich. It’s there, however the ratio ought to be skewed in direction of the connection components.

We wished to inform a narrative about fashionable relationships, why we get into them, and why we keep in them. If you concentrate on it, the entire setup of it is a bit like on-line relationship. You present up and meet anyone and also you see how far it goes. Sometimes it goes on for some time and generally it stops quick, but it surely’s all the time for completely completely different causes. John and Jane had a fairly dire and rapid cause to remain collectively, however I believe it was extra in regards to the coronary heart than it was about motion. Hopefully we achieved each.

If you take a look at the ratio of motion to romance within the present, the motion tends to return in bursts. It’s a sluggish burn after which there are bursts of motion. I believe that allowed us to get into the motion and actually spend time on it and get it proper. The remainder of it’s a whole lot of speaking, however Donald Glover and Maya Erskine have nice chemistry. 

MF: They actually do. If reminiscence serves, the last time we spoke was for the Apple TV+ sequence Extrapolations, which you probably did along with your frequent collaborator Scott Z. Burns. I didn’t discover any clear connections between Mr. or Mrs. Smith and anybody out of your previous. That begs the query, how did you get to be editor and co-producer on this sequence? 

Greg O’Bryant: Kyle Reiter and Isaac Hagy had been editors on Atlanta and they’re each nice editors and nice dudes. They work lots with Hiro Murai, who directed most of Atlanta and the primary two episodes of this present. 

Kyle and I had been pals socially, and he despatched me a textual content one night time saying, “Hey, I think this Mr. Mrs. Smith remake is cooking with Donald Glover and Hiro and the Atlanta guys. Would you want to work on it?” And I mentioned, “Yeah, of course!” Come to search out out, that they had shot Atlanta season 4, however they hadn’t edited any of it. And Hiro was dedicated to directing the primary two episodes of Mr. and Mrs. Smith earlier than they might get into editorial on Atlanta. 

So, they needed to get the primary two episodes within the can after which go away for just a few months. They requested me to return in and do what I did for Extrapolations and Brand New Cherry Flavor, which is producing and enhancing. I met with Kaitlin Waldron, who’s the put up producer for the present. She additionally did Atlanta, Baskets, and a bunch of different nice reveals. She and I obtained alongside effectively, so we ran Mr. and Mrs. Smith within the background whereas they had been off doing Atlanta. 

Hiro, Kyle, and Isaac, with their assistants Kim and Jon, did episodes one and two of Mr. and Mrs. Smith. We sort of handled it like a pilot. It was taking place off to the aspect, and I used to be engaged on the opposite six episodes. As we completed, all of us form of dovetailed it collectively and combined and matched on a number of the episodes a bit. 

MF: I believe I requested you this final time, but it surely’s value revisiting. The co-producer credit score. How is that function necessary in an editor’s profession? What precisely does it entail? What does it do for you? 

Greg O’Bryant: I don’t know if it does a lot. It’s sort of a bespoke factor. I inform everyone that I do know simply sufficient to be harmful. I’m going to weigh in on every little thing it doesn’t matter what. I believe it’s useful to have an editor’s perspective on every little thing, whether or not it’s reshoots, shade, sounds, visible results, or music.

It’s useful to have an editor’s perspective on every little thing.

It’s completely different on a movie. Film is a director’s medium. TV is a author’s medium. Writers normally recognize having a technical head within the sport. Numerous writers don’t come from a manufacturing background. I do, and I believe that provides them one other perspective once they’re making an attempt to determine one thing like, “Which song is better for this scene?” Someone who has each a technical and storytelling background can say, “Well, this song is good, but it peaks out a little bit here. It’s not going to sound right when they mix it. Maybe this other one would be better.”

The producing factor simply means every little thing comes by way of my room earlier than it’s completed. On Mr. or Mrs. Smith, I used to be closely concerned in creating the rating with Francesca, David Fleming, and Donald Glover. I used to be additionally concerned with approving the VFX and getting all of the sound work accomplished, working with Harbor Sound.

The concept is, as soon as we begin enhancing, every little thing comes by way of my room earlier than it’s accomplished, whether or not it’s one other editor’s reduce, a VFX shot, a music cue, or a rating cue. Whatever it’s, it has to undergo me. What makes TV particular is when it feels prefer it’s all accomplished by the identical hand. I believe working all of it by way of my room is nice as a result of, regardless of who’s in my room, they’ll weigh in. 

It’s not simply me. Francesca is likely to be in my room. The different editors is likely to be in my room. But it’s all going to return by way of the identical tiny pipeline and, hopefully, that provides a stage of consistency to all of it.

MF: What was it like interviewing with Francesca? 

Greg O’Bryant: I interviewed with Hiro and Francesca. I talked to Hiro twice earlier than I talked to Francesca. They wished to ensure that I used to be going to slot in on their staff. These are just about the entire those who made Atlanta. Francesca wrote for Atlanta. Donald was Atlanta. Hiro directed it. Kyle and Isaac edited it. Their assistants labored on it. Kaitlin Waldron, the put up producer, labored on it. So I used to be coming into a fairly well-oiled machine.

I believe a whole lot of it got here all the way down to style. They requested me issues like, “What do you like? What kind of music would you put in?” They had been making an attempt to suss out whether or not or not I used to be going to slot in with them. It was like a character take a look at. These guys are large on vibes.

The interview was simpler than the working half. I got here into this machine and arrange every little thing to run by way of my room. I believe it took an additional beat generally for Francesca to not go to Kyle and Isaac as a substitute of me. When it got here down to creating a choice, I believe her first intuition, clearly, was to go to the those who she’d gone to earlier than. It was on me to be affected person. This is a bunch of actually, actually sensible folks. Whoever had the correct reply was all the time the winner. We all simply wished to make it nice.

MF: What had been the manufacturing and post-production timelines like? How lengthy had been these phases of the present? 

Greg O’Bryant: I got here on the day after they wrapped manufacturing on episode two and I used to be on for eighteen months. All of that wasn’t the edit. I believe we had been in editorial for a few 12 months. 

There was some fairly in depth capturing that occurred later, which I believe is all the time useful. I do know the bigger world tends to suppose, “Oh, reshooting? Something must have gone wrong” and I don’t suppose that anymore. I believe it virtually all the time helps to go in and decide up a few photographs for this or that episode, and even add in scenes.

We redid complete scenes for the Mr. and Mrs. Smith pilot. They reshot two scenes solely in the identical location and every little thing. The staff checked out what we had and mentioned, “Hey, we’ve learned some things about this show. Let’s go back and do it a little differently.”

I might say a few 12 months of the present was virtually strictly editorial. Then the final six months had been for sound. We spent a whole lot of time on the sound, music, and visible results. Believe it or not, it is a fairly large visible results present. There are numerous visible results.

Believe it or not, it is a fairly large visible results present

MF: This present is ready primarily in New York. For an L.A.-based editor, it looks like you’re all the time working in New York City. Where had been you chopping this? 

Greg O’Bryant: I are usually the place the crew is. I used to be in New York whereas they had been there and I stayed there once they went to shoot in Italy. Then we edited in L.A. till we obtained all of the cuts, reshoots, and pickups accomplished. After that, I went again to New York to combine at Harbor.

I’m fairly large on mixing in-person. I’m fairly large on working in-person normally. I don’t know if that’s one thing that we wish to get into. It’s such a scorching matter proper now. But I’m fairly large on in-person work, and so had been all these guys. It was fairly necessary for all of us to be collectively. 

MF: Do you have got any sort of affect? If working in-person is your desire, are you able to make that occur?

Greg O’Bryant: I don’t know that I’d say I might make it occur. I believe the sorts of those who I wish to work with naturally gravitate in direction of that. I just like the work. I like folks. I believe that personalities affect the work. Even when you have a nasty apple on the staff, they affect the present in a roundabout way. That it’s what makes it human and fascinating. Even a grumpy Production Assistant can have an effect on the storytelling in a bizarre, ethereal approach. So, I believe it’s fascinating to be in-person.

The New York factor is all about tax incentives. It’s simply cheaper to for me to be there. On this one, I had an assistant in New York, Jacqui Kaplan, who was superb. I had my L.A. assistant, Steph Perez, who I’ve been working with for just a few years now. She was in New York with me for a part of it, however not all of it. Jacqui was really in New York the entire time. We additionally had Mike LaFond for slightly bit in New York. Then Isaac and Kyle had their assistants, Cameron Ross and Jen Bryson too. 

MF: There’s one other editor, Kate Brokaw. 

Greg O’Bryant: Yes! Kate did a ton of labor on the present.

MF: So there have been two editors on the primary two episodes, three editors on the third, and two editors on the fourth and fifth. Then you carried the ball within the ultimate three. Why was the sequence so front-loaded with editors?

Greg O’Bryant: You know what’s bizarre? It’s not all the time about which episodes want essentially the most assist. One cool factor was the best way Kaitlin laid out this present. She discovered a method to make this funds and the schedule work with out us turning over cuts whereas we had been filming. We didn’t begin displaying stuff till after they had been accomplished filming and we had been all collectively. 

I believe that bottlenecked us slightly bit when dailies had been coming in. Kate was important to that as a result of I can’t assemble dailies and edit on the identical time. She labored lots on episodes three and 4, however I nonetheless completed each episode. 

The cause Kyle is on episode three is as a result of they shot that one in Italy. There wasn’t a lot we might do in the best way of reshoots. And because the tone of the present advanced, as we began to learn to finest use Dom and Maya’s chemistry, we discovered some items of it labored and a few didn’t. So episode three needed to change lots. Kyle helped out a bunch with that episode, determining how you can make it work, whereas I used to be doing God-knows-what on the opposite episodes.

Kate did the editor’s reduce and the director’s reduce for episode three, and I do know she did the editor’s reduce of episode 4. Maybe it didn’t change very a lot in any respect till we did the Mexico shoot. The complete factor in Mexico on episode 4 was shot months and months later.

MF: One of the issues that fascinates me essentially the most about this sequence is the opening. You don’t have an enhancing credit score on the premiere, however as co-producer, every little thing goes by way of your chopping room. Tell me about establishing the pilot.

Greg O’Bryant: Interestingly sufficient, that complete starting was picked up later. I believe we discovered from making the present that it wanted to trace that that highway to nowhere existed. I believe it units the stakes. Once we noticed the ending of episode eight, which was Donald’s episode, we felt just like the present wanted to arrange that highway to nowhere earlier within the present. I believe what Francesca did and the writing of that was sensible. And, for anyone on the market who’s labored with networks, they’re by no means going to show down an motion set piece starting with two well-known faces. So it labored out for everyone.

MF: I don’t need folks listening to suppose there’s not a whole lot of motion on this, however comparatively talking, it has a whole lot of intense, dialog-driven scenes that may go on for 5 minutes, and then you definately’ll have a chase. I’ll offer you an instance.

There’s an episode the place Donald and Maya meet one other pair of Smiths and have a cocktail party with them. It lasts a very long time and ends with them saying, “Hey, why don’t you go out and do a mission for us?” as a result of the opposite Smiths are principally one stage up the spy ladder from the Jane and John that we all know. You see them soar in a helicopter and go off to the jungle. They’re surrounded by militants. Then it cuts again to them within the chopper wanting all bloody. 

So there’s no motion there. It’s all simply fast cuts after which the aftermath. This present leans way more into dialog and character than it does motion. Was the community all the time okay with that? 

Greg O’Bryant: I want we might fly Francesca in right here to weigh in. She had much more interplay with the community than I did. I used to be listening to every little thing second-hand. But I’ve by no means labored with studio or community executives who didn’t need much less speak and extra motion. 

I’ll let you know one thing fascinating. Originally, we edited episode 4 with out something from Mexico as a result of it was months earlier than we might go down there to shoot. So all of us obtained used to this scene the place they take off after which it exhausting cuts to the Smiths coated in blood. For some time, we thought we weren’t even going to do the Mexico shoot. People had been saying, “Maybe we should keep this cut because it’s so funny.” 

So, the crew went all the way down to Mexico they usually shot a really elaborate sequence. It was way more difficult than what you see within the ultimate reduce. But all of us knew that sequence was going to should be higher than that humorous exhausting reduce. We tried it a bunch of various methods. We spent weeks tweaking simply that little sequence. We actually beat the bushes earlier than arising with that quick, vibe-y, out-of-control factor we ended up with. I believe we discovered a superb center floor. But extra importantly, that’s the tone of the present. The tone of the present is about how you can get that tough reduce to be humorous. We have to do not forget that these guys aren’t that good at being spies.

We have to do not forget that these guys aren’t that good at being spies.

 MF: When you do share episodes, how do you divide the work with co-editors and the way do you keep in sync as soon as the work begins?

Greg O’Bryant: We don’t work on the identical time. In that occasion, Kate did the meeting and the director’s reduce. She went farther than a director’s reduce. Then I took it and did a whole lot of notes on it, and obtained it into the community. It obtained to a degree the place the opposite episodes had been getting higher quicker than that one, which additionally had a way more convoluted plot that we needed to simplify. Then I believe Kyle took a crack at it. He discovered a pair issues that labored. He sort of cracked it. I believe I most likely completed it from there. 

I’ve labored on actuality reveals the place anyone takes one act and anyone else takes one other, after which there’s a ending editor that goes by way of it. I couldn’t think about working like that on this present as a result of the tone is difficult. 

Communication is totally the important thing to this complete factor. That’s why being in individual is so precious to me, as a result of everybody tends to sit down down collectively at lunch, however you find yourself speaking in regards to the episodes. You find yourself saying issues like, “I found something good in episode four” and possibly that triggers whoever’s engaged on episode six to say, “Hey, I have something like that that I wasn’t going to use. Wouldn’t it be interesting if I put that in?” You begin discovering the issues that get everyone excited. That guides everyone again to their very own a part of the work to search out the issues that make it unified. 

MF: How lengthy does it take to do an episode of Mr. or Mrs. Smith? Is it even attainable to sum that up?

Greg O’Bryant: In this case, no. This one was simply so bizarre. There was a interval of some months the place I used to be the one editor. Kyle and Isaac had completed their components and Kate had gone off to one thing else. So it was simply me, Kate Waldron, and the assistants. 

This was extra like a function edit by way of spending time on the components that wanted time. There are components of the present that didn’t get touched after everyone obtained their first say. There are enormous chunks of the present that, as soon as the community weighed in for the primary time, most likely by no means obtained touched once more. The remedy episode had the least period of time spent on it, for positive. It was fairly good straight away. Episodes one, two, three, and 5 most likely had essentially the most time spent on them. 

MF: Since you introduced up the remedy episode, I did have a query about that. John and Jane are seeing a therapist about their marriage troubles. Within that session, we see vignettes of various missions they’ve been on, and these vignettes are to help the arguments they’re making in opposition to one another within the remedy session. So, the entire episode takes place within the residence of the therapist, however there are a number of motion sequences that you simply reduce away to. Does that sort of construction current any sort of problem? What are your recollections of engaged on that episode? 

Greg O’Bryant: That episode was a lot enjoyable as a result of it’s the one with essentially the most easy comedy and it had essentially the most improv. There’s a good quantity of improv within the present. Donald and Maya are each comedians, so there’s lots, however that one had essentially the most improv. 

When I’m enhancing, I all the time ask if what I’m doing is linear to the character’s subjective expertise. That’s the best way that episode performs. Even although it’s non-linear, it is extremely linear to John and Jane’s expertise. It’s not as exhausting as you may suppose. It could be completely different if I needed to take the story aside and do it in a special order, like Memento. That to me looks like an actual mind teaser. I would wish an algorithm or a chart on the wall to do it. 

The nonlinear a part of it felt very linear to us as we made it. But the improv was essentially the most enjoyable half as a result of Donald and Maya are each so humorous. And I’ve neglected Sarah Paulson, who’s superb. All of the visitor stars on the present are superb. They all introduced one thing enjoyable and actually fascinating. I believe everyone was simply excited to work on the present. 

MF: Since you introduced it up, how do you handle improv within the Avid? 

Greg O’Bryant: I find it irresistible. I believe it brings such good power to issues. It feels extra alive and pressing, even slightly harmful. It’s sort of a high-wire act. I come from an improv background, weirdly, as a result of I did a lot unscripted. And one of many first motion pictures I ever reduce was referred to as The Lie. It was utterly improvised. 

I welcome improv, however it’s essential issue within the time for it. You have to observe and catalog all of it. It’s a special course of. When I edit common dailies, I’m fairly quick as a result of I wish to get it on its toes and determine what’s working. You can’t try this with improv. Sometimes it’s even exhausting to maintain your digicam language. If you wish to preserve slightly improv jag going, generally you need to go to a shot that you simply don’t essentially need. Luckily, we had the instruments to perform a little ADR to tie some stuff collectively. We had the time and the funds to carry the actors in and document. 

MF: The ultimate episode options an prolonged cat-and-mouse fashion chase sequence between Jane and John, and there are dramatic dialogue beats inside that sequence. This episode most likely has essentially the most even mixture of dialog and motion. Do the swings between these two forms of enhancing change the best way you’re employed? 

Greg O’Bryant: They actually affect one another. I believe each editor edits to their style, whether or not it’s motion or dialog. I edit motion scenes a sure approach, and I strategy dialog scenes a special approach. When you have got each in the identical episode and even in the identical second, I believe they affect one another. I simply attempt to make it really feel actual. How do I make it really feel sincere? 

I simply attempt to make it really feel actual. How do I make it really feel sincere?

This is a ridiculous state of affairs. They’re combating over a gun within the library of a townhouse in New York as a result of they’re owned by a shadowy spy company. But I’ve to search out the truth and the emotion in these moments, whether or not it’s dialog or motion. I would like the motion to really feel actual, however I additionally need it to really feel like they might simply begin speaking. You additionally don’t need the motion to get too brutal the place there’s no approach that they might cease and speak. That could be ridiculous. 

MF: For people who haven’t seen the present, Jane and John get their orders through messages on their telephone from an unknown boss they name “Hihi” as a result of that’s how she or he begins all their messages. “Hihi.” So you have got your traditional display work, which may actually add up. All the telephone screens and pc screens. Earlier, you talked in regards to the VFX load being greater than you may suppose. Where was that inside the context of the present? Do you’re taking that on or do you permit it to your assistant or your VFX editor?

Greg O’Bryant: All the pc screens are VFX as a result of we rewrote and redesigned all of it. We didn’t even design the spy app till after manufacturing. Numerous their home is a set, so there have been a whole lot of VFX set extensions. They used rubber weapons generally, however principally they had been capturing blanks. We needed to redo virtually all of it as a result of that’s simply what occurs. If you wish to change it two levels, you need to take out the squib and put in a special one. There’s an entire lot of VFX within the automotive chases, generally to get the vehicles nearer collectively, generally to make the vehicles seem like they’re going quicker.

We did a whole lot of VFX within the Alps to make the fog and snow constant. Some snow is actual, some is faux. Luckily, our VFX supervisor Eric Pascarelli is superb. He all the time had a solution for every little thing. There had been a few stunts and backgrounds that needed to be touched up. It was all stuff that was invisible. We didn’t need it to really feel like we had been doing the results. We wished to maintain it actual.

This is how I’m accustomed to doing it: I mark up the scenes after which it goes to the VFX editor. The VFX editor takes my markings, logs it, codes it, after which it goes into VFX Land. We didn’t begin approving something till we had been all locked. At first, it will be two-hour classes sitting in Eric’s room taking a look at a monitor, banging them into form, approving them, and sending them again with notes. By the tip, we had it all the way down to a half-hour Zoom name twice every week.  And I’m not simply talking for myself on these calls. I’m additionally talking for Francesca. One of the explanations every little thing runs by way of my room is so I can study what the showrunner or director likes. If I’m there they usually’re not, I can do what I believe they want. 

MF: Mr. and Mrs. Smith has a wry humorousness performed in opposition to a love story. Did you pay additional consideration to the comedy versus the love story? What in regards to the hazard that they’re really in? 

Greg O’Bryant: That’s a very good query. I believe any time you’re constructing a tone, you’re all the time looking for that ratio. I by no means wish to say something is straightforward as a result of it’s not, however that was one of many simpler components of this present. Donald, Francesca, and everybody else on this present are very humorous. It’s like what I used to be speaking about earlier, after I mentioned combos of personalities come collectively to have an effect on the present. The Venn diagram of all of our tastes simply landed collectively. I don’t bear in mind ever having a dialog about how a lot comedy we would have liked. I believe all of us wished it to be actual and humorous.

One factor that Kaitlin and I talked about was, “How do we make this show feel like a good hang?” Overall, when you’re going to observe the present, you need it to be like a superb dangle. That’s what we’re leaning into. So I simply tried to make it really feel like once we hang around at lunch collectively, all of the those who had been making the present. 

MF: You talked about that one of many issues that you simply carry to the desk is sound work and affect over the music. Tell me about that side of the present.

Greg O’Bryant: One of the nice joys of engaged on the present is that I by no means needed to get away my iPod playlists. Donald is actually a musician with nice style and Francesca is a giant music lover. We additionally had Jen Malone, the music supervisor from Atlanta, and Donald’s co-producer, Fam Udeorji. We had a whole lot of musical minds within the room. We by no means had been at an absence of nice selections. All I needed to do was weigh in on whether or not they had been good for the story or not, or whether or not they would maintain up technically. 

Now, surprisingly, that’s not at all what the ultimate rating of the present is. When we introduced on David Fleming, the composer, one of many first issues he mentioned was, “This action needs a lot of love.” He figured it out virtually instantly. He had a imaginative and prescient for the present straight away and he obtained in there and simply did it.

I believe everybody who labored on the present would agree that that rating is a tonal buoy. When the rating was accomplished, the present lastly felt accomplished. We scored the entire present on the finish. We didn’t do a lot whereas we had been chopping. We did temp whereas we had been chopping, however we didn’t do any work with Dave till the present was locked. 

MF: Were you in a position to study any methods from any of your co-editors?

Greg O’Bryant: Kyle and Isaac are each cool prospects. They don’t grapple, and I believe that was one thing I wanted to see. I’m on 12 months ten of my large narrative TV enhancing journey. I’ve been enhancing for twenty years, however earlier than that, I used to be chopping a whole lot of actuality reveals and indie movies.

As far as union reveals, I’m in 12 months ten, but it surely doesn’t really feel prefer it. I believe everybody suffers from imposter syndrome. And being introduced right into a staff that’s a well-oiled machine additionally was flattering. I believe Atlanta is among the finest reveals ever made, so to be invited on as their producing editor was intimidating! But seeing Kyle, Isaac, and Hiro strategy their work with a way of enjoyable was useful. I believe all editors have to see that it doesn’t should all be stress and nervousness. Editing ought to be enjoyable. It ought to be gratifying. We ought to discover a method to do it that doesn’t kill us.

I believe I lean in direction of being a little bit of an anxious individual, a neurotic approach. Seeing how calm and funky this staff was about the entire thing was inspiring. I’m going to take that with me into future reveals, for positive. 

Editing ought to be enjoyable. It ought to be gratifying. We ought to discover a method to do it that doesn’t kill us.

MF: What was essentially the most rewarding side of doing the sequence?

Greg O’Bryant: I hadn’t accomplished motion earlier than. I’ve been eager to do it for some time. All editors listening to this most likely know that it’s very straightforward to get pigeonholed. If you’re good at a sure factor then folks suppose that signifies that you may not be good at different issues. I felt fairly good about comedy.  I wasn’t frightened about that. But the motion was my largest problem entering into. The first time I noticed somebody flinch at a sure second in a battle scene I reduce was rewarding. I believed, “Good, I can do this too.” Because I didn’t know! I felt fairly good about it. I studied up. But proving to myself I might do it was a giant deal. 

MF: Greg, I loved all of the work that you simply and the staff did on the present. I all the time take pleasure in speaking to you in regards to the work and I believe, given slightly time, I might be able to forgive you for leaving me on a cliffhanger.

Greg O’Bryant: I didn’t have a ton of management over that, Matt. But thanks for having me, as all the time. I all the time have a good time.