Spicing Up Shakespeare With the Editors of “Anyone But You”


Anyone But You editors Tia Nolan, ACE and Kim Boritz-Brehm reunite and meet cute as soon as once more for a movie that has been an absolute field workplace smash. In an period the place prevailing “wisdom” says that you would be able to’t get audiences out to the theaters for a romantic comedy, Tia and Kim’s little $25 million movie has racked up over $200 million worldwide!

Summary for Anyone But You

Loosely based mostly on Shakespeare’s Much Ado About Nothing, Anyone But You was directed by Will Gluck, who co-wrote the screenplay with Ilana Wolpert. The movie stars Glen Powell as Ben and Sydney Sweeney as Bea. Despite having an incredible first date, Bea and Ben’s preliminary attraction rapidly turns bitter. When they unexpectedly discover themselves at a vacation spot wedding ceremony in Australia, the pair fake to be the right couple to maintain up appearances.

In our dialogue with Anyone But You editors Tia Nolan, ACE and Kim Boritz-Brehm, we discuss:

  • Surviving spiders
  • Keeping your leads likable by way of battle
  • Breaking the field workplace with a rom-com
  • Nailing down the needle drop
  • The Richard Marks connection

Listen as you learn…

Editing Anyone But You

Matt Feury: Tia, you’ve labored with writer-director Will Gluck for some time now. Tell me the way you two met, the tasks that you simply’ve labored on collectively, and the way that every one led to Anyone But You

Tia Nolan, ACE: We began on a film known as Friends with Benefits. I used to be a late rent on that, so I hit the bottom operating with him. I consider the challenge had been delayed and he’d misplaced his editor. There was some form of complication, so I jumped in with Will. 

We type of had the identical sensibilities. He did a short-lived TV present after Friends with Benefits known as The Michael J. Fox Show. I did the pilot and one episode of that, one other pilot that he produced, after which we jumped into Annie. This is our first function collectively since Annie as a result of he did two Peter Rabbit films and so they had been each in Australia. The editor needed to be Australian to get all of the tax breaks. It was enjoyable to be again collectively once more. 

MF: Kim, that is your first challenge with Will, however you and Tia have labored collectively for some time. Tell me the way you two met, the tasks you’ve labored on since then, and the way that led to you getting the decision for this movie. 

Kim Boritz-Brehm: It’s humorous, Tia and I’ve a historical past with an editor named Richard Marks. He bought me into the business as an editorial P.A. once we had been capturing How Do You Know in Philadelphia, the place I’m initially from. An editor that I had labored with earlier than, Debbie Berman, launched me to Peter when he was searching for a primary assistant for Thunder Force. It was humorous once we realized that we each had a Ritchie connection as a result of Tia had labored with Ritchie just about from the very starting. Isn’t that proper?

Tia Nolan, ACE: Almost. He was my mentor for over a decade. We labored on many tasks collectively. I labored with a number of different New York editors earlier than him. They had been my stepping stones to get to Richard Marks, the well-known editor. I labored these connections to get to him. He helped mildew my profession.

MF: This film is loosely based mostly on Shakespeare’s Much Ado About Nothing. There are quotations from the play embedded into the background as title playing cards and within the dialog, virtually like Easter eggs. Did you learn or reread Much Ado earlier than engaged on this film? And did Will provide you with some other reference materials?

Tia Nolan, ACE: I didn’t reread it beforehand, however there have been occasions once we would scramble to seek out essentially the most applicable quote. So I used to be pace studying Much Ado throughout the course of, which isn’t straightforward. 

Kim Boritz-Brehm: Google was our greatest buddy in that search. 

Tia Nolan, ACE: Very true. But Google would get it fallacious. Loads of occasions Google or the little excessive faculties Shakespearean web sites would quote from the fallacious play. So we’d put it in and another person would say, “That’s not from Much Ado. That’s from A Midsummer Night’s Dream.

MF: Once you learn a script and comply with do the movie, what do you do subsequent to organize for it? 

Tia Nolan, ACE: When I work with Will he simply retains sending me scripts. I feel we began to start with of March. Kim and I had been overlapping with one other movie for a similar studio, so it’s a bit blurry. But from round November, when Will and I began speaking about it and all through capturing, he would ship me a draft actually each Friday night time. It was a kind of issues the place I’d say, “Yeah, it’s the weekend! Okay, no, I have work to do.” I used to be in a position to give Kim the scripts once they bought to the studio degree as a result of Will was treating me as a trusted member of the family. He was making an attempt to get notes in order that he may get the scripts to the studio.

My prep time is all about dwelling within the script with these characters with Will and serving to him with the story and with visible transitions, or if I noticed issues that I felt we had been by no means going to maintain. That’s what my prep is up till diving into the film. 

Kim Boritz-Brehm: Our first couple of weeks had been a whirlwind as a result of we needed to watch for Nick Coker, our first assistant editor. He needed to go away a movie known as Harold and the Purple Crayon for us. 

Tia Nolan, ACE: Kim began as my first assistant editor, however started modifying with me on Thunder Force. Then we bought introduced in form of late within the recreation into a movie that hasn’t been launched but. One of Kim’s jobs on that movie was modifying an animated sequence that went on lengthy after the movie wrapped. She stayed behind to hone it in, as a result of that’s how animation goes. So for the primary couple of months Kim was going forwards and backwards, making an attempt to work on that sequence. 

For Anyone But You, we had the standard prep conferences with the Australians. They construction their post-production a bit in a different way than we do, so we needed to kind by way of that and get every little thing engaged on the identical web page. That’s at all times a problem if you’re distant and the time distinction is so big. 

MF: Kim, if you joined Anyone But You, what did you and Tia have to hash out between one another when it comes to tackling this challenge?

Kim Boritz-Brehm: In this case, it was about me following Tia’s lead. She had already labored for Will and she or he is aware of what he likes. Tia would say, “I’m giving you this scene today” and I’d work on it. After, there would at all times be a go along with her notes, displaying her my cuts, sharpening, and all of that. Then we’d ship it to Will. I feel our reducing grew to become fairly seamless. I discovered from the perfect. I’m honored as a result of generally Will couldn’t inform which scenes had been mine and which scenes had been hers. They labored so effectively collectively.

MF: How did you steadiness your editorial workload? 

Tia Nolan, ACE: We would have a look at the schedule forward of time to know what they had been going to shoot the following day. There had been sure sequences that I had spent loads of time discussing with Will, so I took these as a result of we had already sorted it out. He gave me notes about how he was going to shoot issues, so I’d belief that he’d wish to speak to me immediately. 

It’s about dwelling in one thing. When I edit a scene, I begin to stay in it. I get so conversant in the footage that I can anticipate how I wish to lower one thing. And if Will has a word or if one thing isn’t working, I can clear up the issue as a result of I do know the footage .

When I edit a scene, I begin to stay in it. 

I wished to be on high of sure sequences as a result of I knew Will was involved about them. I’d selfishly tackle these scenes all on my own. Then we’d get different footage in and I’d be slowed down with these sequences, so Kim would step in and take these. Sometimes these had been additionally very heavy-hitting scenes.

Once Will was within the reducing room with us, I’d simply kick him into Kim’s room and say, “That’s her scene, go work with her on it” or she’d come into the room with us. She would sit on the AVID and I’d sit on the sofa, which by no means occurs. I’d fake to be a studio particular person or no matter. 

I agree with Kim, it grew to become seamless. This occurred after I labored with Kim on Thunder Force too. I gave her a few scenes and had very minor notes on them, and she or he was in a position to flip round my notes fairly immediately. Then we’d have a scene that felt like some other scene earlier than or after it, which is vital when you have got a number of editors. Editors can have totally different reducing kinds. 

MF: Anyone But You shot predominantly in Australia. If it wasn’t, that was some nice VFX work. Where had been you reducing? 

Tia Nolan, ACE: We had been in L.A. We began on the Sony lot as a result of we had been overlapping with the opposite movie. We virtually had our palms on two totally different movies on the time. Then we moved to West Hollywood, the place Will’s firm, Olive Bridge Entertainment, is situated. It ended up being a stunning house, nevertheless it was loud. We had been within the midst of West Hollywood on one of many busiest corners in what may very well be known as a “rustic industrial” sort of house. If you consider these two phrases and in addition sound, it’s not conducive to good sound high quality in any respect. 

MF: How lengthy was the shoot, how lengthy was put up, and the way lengthy had been any reshoots that may have occurred?

Tia Nolan, ACE: The shoot was one thing like two and a half months. And then there have been the strikes and we additionally did some extra images. The movie went longer than we had anticipated. I consider we wrapped to start with of December. We had been initially imagined to wrap earlier than Thanksgiving, however some extra images wanted to be accomplished. So we had been ready out the strikes to get that in. Then we needed to scramble to get it into the theaters as a result of we had a month or much less to get it on display screen. 

MF: Kim, do you and Tia watch dailies collectively even when they’re for scenes you will not be reducing? Do you and Tia have common conferences? What do you do to maintain the film feeling unified prefer it’s accomplished with one editor or one imaginative and prescient?