Kevin Tent had been nominated for three ACE Eddies before winning this month for The Descendants, which the American Cinema Editors deemed Best Edited Feature (Drama). Tent’s work in the cutting room played an important role in placing The Descendants firmly in the drama category. The longtime collaborator with Alexander Payne — Tent's other Eddie nods were for Sideways, About Schmidt and Election — says that much more comedy from the King family was shot than what we see onscreen and that removing it just felt right. In a few days, Tent will vie for the Best Film Editing Oscar for the first time. Movieline spoke with him about how the movie’s dramatic story came together, the attention from the Academy and his plans for Oscar night and beyond.
How has awards season been treating you?
TENT: It's been a blast. And also a little odd and strange because, especially being an editor, you don't usually find yourself in the spotlight. I can't imagine what it must be like for actors like George [Clooney]. But for me, it's all good and just like they say, after the initial shock wears off you start to think, “Wow … this is really an honor.” And it is.
What was the collaborative process like on this film?
TENT: Alexander [Payne] and I work very close with each other. He loves the cutting room. As he likes to say, "I shoot so I can edit." He's very collaborative. There's a lot of back and forth between us. People often ask how we work with each other. It's hard to describe. Editing is such and abstract exercise and I don't really like to analyze our process, but what I can say is we shut the door,…
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