At this time we’re talking with Chris Tellefsen, ACE about modifying The Many Saints of Newark: A Soprano’s Story.
Chris and I’ve spoken earlier than about his modifying on A Quiet Place and Murderer’s Creed, and he’s been nominated for a number of ACE Eddies for titles together with Analyze This, Man on the Moon, Pleasure and Moneyball (which additionally picked up an Oscar nomination). He additionally received an HPA Award for A Quiet Place.
Try the Artwork of the Minimize podcast to listen to this interview, and keep updated on all the newest episodes.
HULLFISH: Thanks for becoming a member of me as we speak. I actually loved this movie.
TELLEFSEN: Oh, I’m so glad.
HULLFISH: You stated you lately rewatched it for the primary time shortly, proper?
TELLEFSEN: It hasn’t been too lengthy. The director, Alan Taylor, had a screening in New York for family and friends about 4 or 5 weeks in the past, which was actually enjoyable. I had far from it and that was good. It’s nonetheless torture. Watching it final evening was torture too as a result of I simply preserve fascinated with how a lot rearrangement there was, and we did so many screenings with completely different configurations of scenes.
So, these issues are at all times clicking in my head after I’m watching it, however I’m very pleased with the movie and the place we have been capable of land it. I feel all the pieces landed within the right place and I really feel nice about it, but it surely was an actual course of.
This isn’t the primary movie that I’ve ended up with a continuity the place it was one thing like 10, 4, 6, 35… that sort of factor. For this, particularly, there have been loads of configurations, particularly within the very starting between the funeral and the change to 1971. We have been whirling with these scenes, determining the best stability to get to that time. There have been many lifted scenes, after which we did extra pictures of about eight scenes.
We began on March thirteenth, 2020. A day and a half into that shoot we have been shut down for COVID, and we didn’t begin up once more as a result of there was nothing else to work on aside from the brand new pictures and integrating that, which had a huge effect on issues, so we’d simply be spinning our wheels in any other case. We have been down till September and we have been first out of the gate to shoot.
It was very difficult particularly for the road producer and Marcus Viscidi. That was fairly an achievement, however fortunately it was simply seven days, so it wasn’t a full shoot. That might have been way more difficult.
HULLFISH: With out spoilers, what have been a few of the story functions of the extra pictures?
TELLEFSEN: Very particularly, one thing that wasn’t touchdown in what was initially shot was simply understanding who folks have been and what their positions have been and what their hierarchy within the enterprise was. That’s the aim of the affirmation social gathering, which was to get the sense of Johnny, Junior, and Dickie’s enterprise dynamics as a result of it had been slightly complicated.
“It by no means performed the best way we actually needed it to play. It by no means gave us what we actually wanted.”
There was additionally a scene that I need to’ve edited about 3000 instances of an intro of the Soprano household of their Italian part of Newark, which was to distinction the African-American part of Newark, and it by no means performed the best way we actually needed it to play. It by no means gave us what we actually wanted. It was one thing that occurred earlier than they decide up Giuseppina and Hollywood Dick, or Michela [De Rossi] and Ray Liotta, and it simply didn’t play. So, we moved issues round.
Within the extra pictures was additionally the introduction of David [Chase’s] idea of the kind of Spoon River Anthology type of the graveyard and the voice from past of Christopher. We had this spectacular scene of child Christopher crying, which was at all times simply so superb. That’s once we first meet Michael, who was such a revelation that we needed extra of him. We additionally needed to essentially land the impact that Dickie had on him as an individual.
What I feel is so fascinating about it—and I feel it’s a really Sopranos factor—is that everyone’s in their very own hit. No one is aware of what the hell is happening with anybody else. It’s all so guarded and unusual, and Junior is such a psychopath. Dickie knew he was a horrible individual and that he needed some sort of unusual redemption, despite the fact that he was a assassin.
HULLFISH: For people who don’t know what the continuity is, it’s a doc that lays out every scene in a single line within the order they seem within the edit. It’s virtually a logline for every scene. The continuity for this movie was numerically utterly out of scene order. Inform me slightly bit in regards to the means of coming to that.
TELLEFSEN: As I stated, there was the extra pictures, which was for the aim of grounding it and feeling who’s who and what the dynamics are within the Sopranos world, however the different facet of it was to land the Dickie and Tony relationship. The tragedy of the break was crucial.
Spoiler Alert. Click on/faucet to disclose
One of many two crucial scenes that have been shot close to the top was the telephone name the place Dickie hangs up on Tony. That was extra. Additionally when Silvio tries to ask Dickie, “What’s occurring right here? Why are you doing this type of factor?” after they’re meaning to whack Harold. It is a spoiler, in fact, however then Dickie’s gone and within the morning Tony’s simply ready on their lonesome at Holsten’s, which is the place the place The Sopranos ended. That was the diner that they have been in when it reduce to black. So, there’s loads of mythology and weight to that.
HULLFISH: I interviewed one of many Sopranos editors initially. You weren’t on that unique crew, right? Did you return and watch The Sopranos?
TELLEFSEN: In fact. Earlier than I began, I watched the entire thing once more.
HULLFISH: What are a few of your muses, not essentially modifying, however whenever you simply wish to be impressed what are a few of the inventive issues that you simply really feel assist offer you a artistic push?
TELLEFSEN: I prefer to learn, and that’s inspiring. I simply re-read a ebook by Vladimir Nabokov referred to as Laughter within the Darkish, which has been a touchstone for me. Apparently, it was made right into a not superb film within the late sixties. Tony Richardson made it, and I like loads of his work but it surely was not nice. Now, it’s really being made with Anya Taylor Pleasure and is being directed and tailored by Scott Frank, which is fascinating as a result of I’m engaged on a movie with Anya proper now.
My background is that I went to artwork college and that’s the place my work got here from—simply doing these small movies. I largely shot from tv and mainly, modifying turned a course of that I cherished. It was actually very a lot about discovered footage and it’s actually my medium, I really feel. It was by no means essentially anticipated that I’d be capable to make it into an actual career, but it surely labored out as a result of I very aggressively pursued it.
I get inspiration from portray and pictures. For some cause, whereas I used to be engaged on this, I’d go to the Whitney and see a portray referred to as Hemlock by Joan Mitchell. She is a post-abstract expressionist from the mid-fifties. There’s an exquisite ebook referred to as Ninth Street Women, which she’s represented in.
I’d say I get inspiration from artwork and from watching movies. All of us do in fact, but in addition I simply actually love the method. Proper now, I’m deep in dailies on one other undertaking. I’m simply two weeks in and it’s actually enjoyable. I’m simply having fun with it.
HULLFISH: Some editors that I’ve talked to say that their favourite half is dailies, and there are different ones who say, “I hate the dailies half. I like the method after the dailies.” Do you may have a favourite?
TELLEFSEN: I don’t have a favourite. I like all the pieces. What I like is that there are such a lot of various things. For the dailies, you’re simply swimming in one thing and attempting to determine it out, pondering, “Oh, that is each a mix of efficiency and placement. This shot can be an important begin.” Generally they’re very particular. Generally issues are very intentionally accomplished, after which generally you’re discovering issues and methods to form and type a scene.
“Generally issues are very intentionally accomplished, after which generally you’re discovering issues and methods to form and type a scene.”
What I’m engaged on proper now could be being shot chronologically as a result of it takes place multi functional house, in a restaurant. It’s a set, so it’s very fascinating and really completely different from what I’m used to as a result of I’m used to getting scenes from far and wide. In that case, the meeting at all times feels such as you’re getting starting, center finish, starting, center finish, and all the pieces. Then, you must make it movement.
HULLFISH: While you’re saying “starting, center finish,” do you imply that whenever you’re watching these scenes out of order, you are inclined to edit them so that every scene has a starting, center, and finish, however that there must be extra of a movement of vitality that doesn’t begin and cease?
TELLEFSEN: In essence, you’re getting one thing that’s contained after which you must open it up and determine what it’s. It’s like dovetailing from right here to there.
HULLFISH: Let’s speak about that affirmation scene that you simply talked about that’s early on. When you haven’t watched The Sopranos, you could possibly mainly decide up the relationships, particularly from that opening affirmation scene. I cherished that the opening affirmation scene wasn’t wall-to-wall dialogue. I don’t know the way it was scripted, however you opened it up and gave moments of colour and tempo that permit the dialogue breathe and broke it up slightly bit. Are you able to speak about that course of?
“You need it to really feel such as you weren’t introducing the characters in a simple approach, however in a sort of flowy approach that’s fulfilling to expertise.”
TELLEFSEN: There was loads of dialogue that was reduce too. You simply need it to be very atmospheric. You need it to really feel such as you weren’t introducing the characters in a simple approach, however in a sort of flowy approach that’s fulfilling to expertise. It had fantastic reside music, the recording had a guitar enjoying these conventional Italian items, which was enjoyable. So, I used that to assist it movement, and simply that very fast factor of the lady saying, “Apollonia was the patron saint of dentists.” There was a complete factor of that. She opened the factor and it was a tooth. It was simply an excessive amount of, but it surely was sufficient to only give it some colour.
HULLFISH: That was an important line.
TELLEFSEN: She was pretty. The lady was actually good.
HULLFISH: I really like that. It jogged my memory of the wedding scene from The Godfather.
TELLEFSEN: That’s fascinating. In a approach, how might that not be behind one’s thoughts?
HULLFISH: One other factor that I observed that I actually preferred was that there have been a bunch of scenes—not too many however sufficient that I observed it—the place it began with dialogue however you weren’t on the individual talking. You’d begin on slightly second of element, on a little bit of colour.
TELLEFSEN: Nicely, through the introduction of Satriale’s, the pork retailer, you hear the radio. It was very particularly meant to be that they have been listening to WNEW-AM from that point within the sixties, which was the make-believe ballroom the place they performed loads of Sinatra and William B. Williams was the announcer. You hear him speaking in regards to the chairman of the board, after which Sinatra comes on.
So, we simply needed to get the colour and the tempo of the factor, after which simply to see the truth that this was a place of job, despite the fact that the bosses are simply consuming and taking pictures the shit up there, however there are guys on the telephone, there’s cash being exchanged… simply to get that colour.
HULLFISH: What’s your strategy whenever you sit down with dailies in your bin?
TELLEFSEN: I watched them very rigorously. I notate and, in fact, have a look at the script notes. With what I’m engaged on proper now, the script supervisor is absolutely nice at ensuring she will get regardless of the director is saying that he’s choosing out, which is nice. So, these are issues that I positively wish to get a way of the intention, in fact, however I’m additionally wanting and vetting it for element, for efficiency, what I really feel, and what I’m responding to.
Watching every of the setups, I’m attempting to suppose in my head, “The place do I wish to be after I’m right here and there?” after which going through it and beginning to pull out selects. It’s the method of setting up and figuring and attempting to get it to sing, to really feel proper, and to get the intention.
HULLFISH: So it seems like whenever you’re watching dailies, you’re watching them straight from a clip. You’re clicking on a take within the bin. Some folks, for instance, have their assistants put collectively a KEM roll.
TELLEFSEN: Generally. I’ll watch them over and make notes, or I normally make the notes watching it as if I’m watching dailies in a theater. I’ve this Apple TV that I can watch the dailies on, in order that’s useful. I miss actual dailies in a screening room. That was one thing I did for ages however definitely not within the final ten years.
HULLFISH: For people who may not know your background, one of many issues we talked about in a earlier interview was that you simply assisted for Thelma Schoonmaker. You have been a 3rd assistant or one thing?
TELLEFSEN: It was on The Colour of Cash in 1986. Marty [Scorsese] was beginning to actually accumulate at the moment. So, the movies that he was shopping for have been coming via and he requested me to work on his archive. So, I labored on his archive for about six months, however I knew that wasn’t going to go on. Marty and Thelma are nice, however they see you simply as you might be then. There’s no motion in that ball, to be trustworthy with you. After that, I edited a brief movie and that finally obtained me Metropolitan.
HULLFISH: You’ve been nominated and received awards. What are a few of the causes you suppose that individuals noticed them as award-worthy?
TELLEFSEN: I feel it’s element and one thing flashy, to inform you the reality. You don’t get awards for subtlety, though that generally is essentially the most tough factor. One thing like Moneyball was huge, and I cherished it. It was fantastic work.
HULLFISH: While you’re taking a look at different editors’ work for awards just like the ACE Eddies, Oscars, or Emmys, what attracts your consideration? What will get your vote?
TELLEFSEN: What will get my vote is what the movie does for me and the way I’m affected by it. I don’t have a look at it to select it aside, saying, “This specific factor was notably properly accomplished,” however how is the complete complete? I look extra to the entire than to the small areas.
HULLFISH: Let’s discuss slightly bit about montages. I used to be fascinated with the burning metropolis montage or the looting montage.
TELLEFSEN: We shot with the intention that it was Harold’s view of what was occurring. We needed to discover the best stability the place it was seen via the lens of the film.
Once we ended up placing that piece on after which abstracting the sound, it simply felt higher. It felt as if we have been going slightly macro with it.
HULLFISH: When you find yourself slicing the scene of Dickie driving via the riots, was the concept of perspective within the forefront of your thoughts?
TELLEFSEN: It was found. It was a course of. It wasn’t predetermined per se. A variety of it was very lined and it might have been much more, and it was much more in some unspecified time in the future, particularly the little bit of the burning metropolis, there was much more to that.
It was taking away from the angle of the film. It was an excessive amount of. So, we had to determine the best stability so that you simply felt it however you felt it because it was resonating for the opposite characters too. Apparently, when he goes to the final components in 1971, he comes out of there pondering, “I’m going to take over the numbers recreation,” which is mainly exploiting his folks.
HULLFISH: One of many different issues that I observed you probably did a few instances was pre-lapping music beginning on the very finish of 1 scene and having it proceed into the subsequent scene. Are you able to discuss to me about doing that?
TELLEFSEN: There is no such thing as a rating and there’s no composer. It’s all music that exists. It’s meant to not solely be one thing that’s being listened to, but it surely goes above and past. That’s additionally a solution to tie issues collectively or arc the rhythms of the scenes into each other.
HULLFISH: You referenced the concept of a Spoon River Anthology at the start of the film. How was the start initially scripted?
TELLEFSEN: Initially, it began with the scene the place Harold is chasing Leon, who’s the gang member, after which Dickie is available in. You get the sense that there’s a relationship between him and Dickie. Then, you go to the Soprano household, there’s like a Madonna in a backyard sort of factor, an American flag, and Tony throwing a soccer along with his dad and his mom. Then, Dickie comes and picks him up they usually go to select up Ray Liotta and Michela on the ship coming in from Italy.
That was the way it initially began. Then, proper after that was the dinner scene the place you get to know Michela considerably, after which he hears them having intercourse. The subsequent day was the taxi driver who was overwhelmed up by the cops. That mainly was the instigating incident of the Newark riots.
Then we went so distant from that, that it obtained a bit misplaced within the rearrangement. We roughly consolidated that story nearer to Harold and Queen Isola speaking in regards to the numbers recreation whereas the little boy continues to be eliminating the hair straightener, then dovetailing into Satriale’s the place he will get dressed down by Dickie, and you then see him kill Leon within the recruiting middle, which was—for those who observed on the continuity—scene 53 which now could be within the placement of scene 12, I feel.
Generally you may have a way of chronology which you can’t actually screw round with, or issues occur very consecutively, whereas that wasn’t the case with this. They didn’t have a temporal must be one after one other.
One other space the place we did loads of motion was after the introduction of Michael to the shootout. There was loads of juggling and there have been loads of lifts. That was meant to maintain the midsection alive.
There have been two fantastic scenes that needed to be sacrificed. It was a “kill your darlings” scenario. There was an exquisite scene the place Livia wakes from a nightmare pondering that she misplaced her enamel and the entire household is coping with her, after which the daddy mainly says, “I’m taking place to Florida. You may handle her now.” Then, there was a pleasant shot of getting a nightmare within the foreground and him within the background. It was a terrific scene. It’s a very robust scene, but it surely introduced down the tempo of the center part.
There was one other actually robust scene that David [Chase] was by no means satisfied of as a result of he felt that through the writing there have been questions of recent references to Dickie having killed his followers, so he wrote that scene the place Johnny and Tony go to the place Dickie labored.
They go there and Johnny goes to purchase a pinball I feel, and he’s actually insulting to Tony and places him down. Then, he goes off to one of many assistants to have a look at stuff and Tony and Dickie have slightly dialog during which Tony says, “God, I hate him. I might kill him,” after which he smacks him and says, “Don’t say that.” Then, they obtained right into a literal battle and the daddy needed to break them up. It was actually good as a scene and fascinating, however story-wise simply to see a sure sort of strife between them and having Johnny break it up simply didn’t scan in the entire. It took it in a path that felt disjointed.
HULLFISH: Is that one thing that you simply notice as you’ve put this film collectively? When you’ve assembled it and also you’re sitting with the director and also you’re watching your complete factor, what’s occurring whenever you pull an important scene?
TELLEFSEN: You’re attempting to trace it and attempting to say, “Oh, is that this proper? Is that this configuration right? Is that this enjoying?” Truly, the entire facet of it’s: will it feed the ending?
HULLFISH: Have been there screenings?
TELLEFSEN: Sure, many.
HULLFISH: What have been a few of the issues that they revealed to you? Since this was COVID, did you get an opportunity to truly sit in on these or did you simply must go together with the playing cards?
TELLEFSEN: As soon as COVID occurred, no one was there as a result of we did a preview within the Midwest or someplace that they really had theaters open, so we simply noticed that weird shot of the viewers. I simply can’t stand that infrared shot of the viewers.
HULLFISH: For the screenings that you simply have been capable of go to, what have been a few of the issues that you simply sensed?
TELLEFSEN: We simply obtained a sense of sure points that weren’t touchdown, and we needed to make them land. So, we labored and figured, then it got here to a degree the place it felt essential to do some taking pictures. David took the time to jot down and we have been all enthusiastic about what he wrote. It actually elevated what we had.
HULLFISH: Did you edit this movie from residence?
TELLEFSEN: I did all the pieces in an modifying room till March thirteenth, 2020. I had a hiatus then till September 4th once they began taking pictures, and I labored remotely from September 4th to November integrating the extra pictures. We did loads of different work as properly. It wasn’t simply integrating the extra pictures.
HULLFISH: Have been you working from residence as a secondary location or was that your major edit for this?
TELLEFSEN: It was my major edit. This [his home] is the place I did distant work from Many Saints of Newark. I used to be on this house.
The movie that I’m engaged on proper now, referred to as The Menu, directed by Mark Mylod for Searchlight is taking pictures in Savannah they usually have their very own challenges with COVID to cope with. They don’t want an modifying room to throw into the combo there, so I’m working remotely right here.
My assistants are working remotely as properly and that’s understanding okay. There are such a lot of folks working remotely and right here I’m on the East Finish in Sag Harbor, and we’ve one web supplier referred to as Optimum, they usually’re not the perfect. So there are some challenges. I shall be going into the town to work with Mark, the director, in November.
“It’s fascinating to work with new folks. It simply is.”
HULLFISH: Do you may have any discussions with him in any respect through the taking pictures?
TELLEFSEN: We talked on the very starting in regards to the piece fairly a bit, and he’s very busy proper now. We talk, however not consistently. I’m just about by myself.
HULLFISH: Is there a trick to developing with a collaborative methodology with completely different administrators?
TELLEFSEN: It’s fascinating to work with new folks. It simply is. I’m very adaptable and I’m very collaborative they usually’re positively collaborative. We click on, and it turns into a course of, a dialogue, and a artistic factor.
HULLFISH: Some folks will say, “My collaborative course of may be very verbal.” Different folks say, “No, in order for you one thing, I’ll simply reduce one thing new and present it to you and we are able to have a dialogue via the footage.” Do you adapt to that, or do you may have a choice?
TELLEFSEN: I prefer to work on one thing then work collectively and focus on. Generally it is smart to be collectively, after which generally I’ll simply say, “Give me a few hours.” It relies on the problem of the actual downside. Generally I would like to do this on my own and generally it’s useful to be working collectively. I don’t have a method of working, particularly after I’m working with a director. I normally attempt to actually really feel out what’s snug for them.
“Generally I would like to do this on my own and generally it’s useful to be working collectively.”
On Many Saints of Newark, I used to be working with each Alan Taylor and with David Chase. It was kind of like a function movie with a showrunner. After Alan’s ten weeks, I used to be doing simultaneous cuts of what David was on the lookout for and what Alan was on the lookout for, after which they got here collectively. It was difficult in a approach. Apparently, I feel that they’re a very fascinating pairing as a result of David is so story-oriented and Alan may be very visible. We did loads of issues collectively of slicing silent for rhythm.
HULLFISH: Even dialogue scenes?
TELLEFSEN: Yeah, even dialogue scenes.
HULLFISH: Discuss to me about the way you make your determinations of shot measurement or the shot angle from dailies?
TELLEFSEN: Once I’m taking a look at dailies I’m taking a look at completely different sizes plus the efficiency. Perhaps it’s one thing with loads of motion, or it’s one thing with loads of connectivity. The piece that I’m engaged on proper now has some massively chaotic scenes, which I’m very enthusiastic about, and I’ve to essentially vet it, determine it, and mess around with the place to be at what time. It’s tremendous enjoyable, but it surely’s tough to make all of it play at first.
Apparently, there’s that complete course of throughout dailies the place I can’t spend per week on a scene as a result of there’s stuff coming in. So, I do sort of a primary contact, after which I say, “Okay, I can put that to sleep now and transfer on to this,” in order that I can sustain with the taking pictures to know if there’s something that’s problematic or something that wants consideration, or perhaps I’ve to inform them that I might use this or that. So, I simply carry on shifting.
Then, let’s say I’ve per week after taking pictures ends, then I actually get to face again and have a look at what I’ve, however I normally preserve the primary reduce 80 to 90 % to script only for intention. The script is one thing that’s been labored on at residence and figured so I wish to give that an opportunity. Then I feel, “Oh boy. We now have to do that, we’ve to do this. This needs to be misplaced. That is the place you wish to convey the emphasis.” Then, you discover the construction.
There are such a lot of angles, performances, and tons of robust ad-libs. The writers have been on set too, they usually love a few of the ad-libs that the actors have been doing, so these notes are on there and there are issues I’m responding to as properly. So, I’m attempting to play that and that impacts continuity and all the pieces.
HULLFISH: How do you cope with ad-libbing? Are you ScriptSyncing? Are you making notes?
TELLEFSEN: I’m making notes with the ad-libbing and there’s a lot that my assistants are beginning to suppose that perhaps we must always begin ScriptSyncing as a result of they’re ScriptSyncing the script. I don’t reduce with ScriptSync, per se, however with one thing like this, it’s tremendous useful. To see the identical second in 20 completely different locations simply can get very complicated for those who’re doing it in selects. Apparently, the primary eight movies I reduce have been on movie and that impacts my strategy. I have a look at it like movie, and ScriptSync isn’t like movie.
HULLFISH: You’re speaking to me from New York—Sag Harbor as you stated. Is there a “New York editor” vibe and an “LA editor” vibe?
TELLEFSEN: I feel that was extra like a sixties factor. Let’s face it, the New York factor was Dede Allen, Alan Heim, Evan Lockman, and naturally Thelma [Schoonmaker], however there are loads of Hollywood editors particularly from the previous that I actually love.
HULLFISH: I do really feel like there’s nonetheless a distinction, however I don’t know what it’s.
TELLEFSEN: I had a really fascinating expertise on David O. Russell’s movie, Pleasure. It was very odd as a result of the 2 editors he was collaborating with weren’t instantly out there, Jay Cassidy and Alan Baumgarten, so he obtained Tom Cross to begin, then Alan and Jay turned out there. Then, I had a window of time and he reached out to me. So, at one level it was all 4 of us, they usually have been all pretty and we actually loved the confluence.
That was very fascinating, though it was slightly insane. I like David O. Russell, and Flirting With Disaster is considered one of my private favorites. I benefit from the means of modifying a lot and I simply love the film as properly, however he likes chaos. He’ll stir that pot.
HULLFISH: Is that chaos one thing that he feels provides to the creativity, or that there’s some artistic worth to?
TELLEFSEN: I feel so.
HULLFISH: Is there the rest that you simply wish to speak about that you simply really feel like we’ve missed?
TELLEFSEN: The Many Saints of Newark was an important course of. It was actually enjoyable to make the music work. We had one level the place we thought, “Oh God, we higher skinny this out.” It was simply an excessive amount of, however then we obtained a great stability.
A variety of music may be very particular and reflective however not written in. The one factor that I’d say can be written in was—I really selected the piece of music—this Dionne Warwick piece as a result of she refers to Dionne Warwick, and I really like her. I really bonded with David in our first assembly as a result of I grew up in West Orange, New Jersey and he grew up in Verona, a few cities over.
HULLFISH: Was there an enormous problem with wanting so as to add rating at sure locations?
TELLEFSEN: It was all a matter of asking, “What are we going to make use of right here? Let’s play.” So, there was loads of experimentation. I’ve nothing towards scores. I really like scores. I actually cherished working with Mychael Danna on each Capote and Moneyball. I feel Mychael is such a gifted composer. When you take heed to these scores, it’s just like the music is flopped. Particularly if the writing course of was plausible with what he composed.
HULLFISH: That’s very fascinating. I’m going to have to return and take heed to these soundtracks once more fascinated with that. Thanks a lot for giving me the time.
TELLEFSEN: Thanks. Bye.
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