The Credits interviews Alisa Lepselter on her process working as Woody Allen’s editor.
The Credits: You've been working with Woody Allen as editor since Sweet and Lowdown (1999). What's your work process with him like and has it changed at all over time? Alisa Lepselter: Not that much has changed, in that because of the way he makes films that are specific to him, he doesn't want to edit the film until he's shot the whole thing. It's unusual. Most directors have the editor doing a rough cut as they're shooting, because they don't have the time to omit that step. Woody has a lot more freedom to work at his own pace, and he wants to be in the cutting room with me from day one when he's done shooting. He comes in and we review all the material, and start cutting from the beginning, from scene one, sequentially, which is also very helpful, because you understand what the tone is as you're going along. But it's a luxury that most people don't have, to work that way, and that's the only way I've ever worked with him, and that's the only way he has, apparently, ever worked with anyone, so that's the same. One thing that's been different is that he's been traveling more, to go shoot his films overseas, and I don't go overseas with the crew, mainly because we're not going to cut it anyway until he comes back, and I can screen the dailies here, and make notes and talk to him if there is anything I have issues with. The Credits | Read the Full Article
The Credits: You've been working with Woody Allen as editor since Sweet and Lowdown (1999). What's your work process with him like and has it changed at all over time?
Alisa Lepselter: Not that much has changed, in that because of the way he makes films that are specific to him, he doesn't want to edit the film until he's shot the whole thing. It's unusual. Most directors have the editor doing a rough cut as they're shooting, because they don't have the time to omit that step. Woody has a lot more freedom to work at his own pace, and he wants to be in the cutting room with me from day one when he's done shooting. He comes in and we review all the material, and start cutting from the beginning, from scene one, sequentially, which is also very helpful, because you understand what the tone is as you're going along. But it's a luxury that most people don't have, to work that way, and that's the only way I've ever worked with him, and that's the only way he has, apparently, ever worked with anyone, so that's the same.
One thing that's been different is that he's been traveling more, to go shoot his films overseas, and I don't go overseas with the crew, mainly because we're not going to cut it anyway until he comes back, and I can screen the dailies here, and make notes and talk to him if there is anything I have issues with.
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