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![]() ![]() This producer at 2929, Couper Samuelson, moved over to Blumhouse, and tried to get Whiplash off the ground as a feature, and was having problems getting the financing. Tom Cross: I had done some assistant editing on some movies for this company, 2929. How did you first meet him and get involved with this ongoing collaboration? Tom Cross edits Whiplash/Blumhouseīelow the Line: I’m curious about your background from before you started working with Damien, which was on the Whiplash short. It might sound like a simple ensemble piece, but in fact, Chazelle has created a number of hugely impressive set pieces, from the debaucherous coke-fueled party-slash-orgy that opens the movie to the even more insane first day on set for fast friends Manny and Nellie, among othersīelow the Line recently spoke to Tom Cross over Zoom, and he offered a terrific look into the way Chazelle thinks and works, as well as insights into some of the film’s crazier and more memorable moments. This sea change is seen through the eyes of a diverse group of characters, including Diego Calva‘s immigrant Manny, who just wants to get onto a movie set Margot Robbie‘s “wild child” Nellie LaRoy, who has always known she would be a star Brad Pitt‘s Jack Conrad, one of Hollywood’s biggest silent-era stars, who is already on his way out Jovan Adepo‘s jazz trumpet player Sidney Palmer, who will achieve fame only to have it besmirched with Hollywood’s inherent racism and Li Jun Li‘s Lady Fay Zhu, an out lesbian performer who sees the writing on the wall as morals in America begin to change. Ever since Whiplash, Cross has been in high demand, and most recently, he co-edited Daniel Craig‘s final James Bond movie, No Time to Die, with Elliot Graham.īabylon is Chazelle’s fictionalized look at Hollywood in the mid-1920s to mid-’30s, when the industry began to transition from silent movies to films with sound. Cross earned a second Oscar nomination and an ACE Eddie Award for the former, and yet another Eddie nomination for the latter. Babylon is Oscar winner Damien Chazelle‘s fifth feature and the fourth he has entrusted to Editor Tom Cross, who won an Oscar for cutting Chazelle’s breakout 2014 film Whiplash, which the director followed with La La Land in 2016 and First Man in 2018. ![]()
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