![]() ![]() You want to feel the sadness and the melancholy, but you need something to contrast it with do it doesn’t feel oppressive. Why did you make that choice?ĮZ: Because you’re fairly close on in those scenes, it’s important to see the larger world and give you the scale of the wider world. It’s editing from in close to out wide that I think some people would have been scared to do, or scared to do that often. MN: So much of the movie works because we go from close-ups of Joaquin’s face to the vast Los Angeles of the future. And then as we got further along Spike and I and everyone else just looked at each other and said ‘this would be great for the ending.’ During production we sent them a bunch of footage and they sent us back some music that could have been for any section. MN: And of course the Arcade Fire score at that point helps too.ĮZ: That wasn’t even originally the music for the ending. MN: It makes the movie feel much more subtle, because it brings all these relationships together.ĮZ: I think that multilayered feeling suits the ending of the movie so much more. But we kept it in our back pocket, and then later on the process we said let’s explore the idea, and that’s when we settled on doing it this way. ![]() ![]() So the other editor, Jeff and I, said “Let’s intercut them.” And Spike came in and we said “You’re not ready for this.” And he looked at it and said ‘You’re ruining the movie,’ kidding but also serious. But it felt like the film had two endings. Originally the letter was written before. What was that process like?ĮZ: Actually that wasn’t originally the ending. MN: I think maybe the most effective scenes in the movie come at the end - and, slight spoiler alert here - particularly when you loop Theodore’s writing of the letter to Rooney’s character as he’s coping with everything that happened with Samantha. Usually you’re there for reasons that are technical, or maybe have to do with performance. It’s really rare to be able to do something like this in ADR. And if it still didn’t work, we would sometimes tweak the picture so that it did. Joaquin would do something new if it didn’t fit. MN: But then you had to go edit all of the new material back into a movie that was made with a different performance in mind, no?ĮZ: We did. Scarlett wasn’t trying to repeat a performance that had been done months before. When we were in ADR the dialogue was tweaked substantially. MN: It’s kind of amazing that in the end it all fits together so seamlessly given that you were basically inserting a new performance.īEST MOVIES OF 2013: Turan | Sharkey | OlsenĮZ: Part of the reason I think it’s successful, besides that Scarlett’s a great actress and Spike’s a great director, is that Spike was constantly rewriting the Samantha character. So Scarlett would be in this soundproof booth, and sometimes Spike would stand just inches from her directing. How did that work?ĮZ: Scarlett began coming in, working around her schedule shooting “Captain America.” And Joaquin would come down whenever we needed him or to read with Scarlett or to act with her. MN: Then of course there’s the other big postproduction challenge - Scarlett Johansson coming in to do the voice part that Samantha Morton initially shot. It’s much better if everyone imagines Samantha for themselves. What we took away from some of the reactions from people we showed the footage to is that it makes the movie smaller. ![]() But in the end it felt like people didn’t want to see a physical representation of Samantha. The idea was that this was Samantha as Theodore imagined her, a person who you can’t quite see their face, can’t quite reach.ĮZ: In the edit room we played with all of these things for months, and it was very interesting. There would be shots of the back of this woman’s head, or you’d see this woman receding into the background, or the camera following her. REVIEW: Spike Jonze’s ‘Her’ shows love’s perils - in any formĮZ: Yes. MN: I’d heard reports that there was actually a woman hired on the set to play Samantha as Theodore saw or imagined her - not Samantha Morton, whose voice of course was on set, but someone just to appear physically. ![]()
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