The subject of a bidding war after its premiere before selling to Netflix for a reported 20 million, Chloe Domont’s twisty thriller Fair Play owes much to the work of editor Franklin Peterson in establishing the deliberate pace necessary to suck viewers in. Below, he offers (spoiler-free!) insights on his work on the film. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that led to your being hired for this job? Peterson: I was offered an interview with Chloe, the writer-director, for the position, as she responded to my […]
The post “I Use Split Screens as a Tool for Ensuring Any Performance Can Be Used”: Editor Franklin Peterson on Fair Play first appeared on Filmmaker Magazine.
The post “I Use Split Screens as a Tool for Ensuring Any Performance Can Be Used”: Editor Franklin Peterson on Fair Play first appeared on Filmmaker Magazine.
- 1/26/2023
- by Filmmaker Staff
- Filmmaker Magazine - Blog
The subject of a bidding war after its premiere before selling to Netflix for a reported 20 million, Chloe Domont’s twisty thriller Fair Play owes much to the work of editor Franklin Peterson in establishing the deliberate pace necessary to suck viewers in. Below, he offers (spoiler-free!) insights on his work on the film. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that led to your being hired for this job? Peterson: I was offered an interview with Chloe, the writer-director, for the position, as she responded to my […]
The post “I Use Split Screens as a Tool for Ensuring Any Performance Can Be Used”: Editor Franklin Peterson on Fair Play first appeared on Filmmaker Magazine.
The post “I Use Split Screens as a Tool for Ensuring Any Performance Can Be Used”: Editor Franklin Peterson on Fair Play first appeared on Filmmaker Magazine.
- 1/26/2023
- by Filmmaker Staff
- Filmmaker Magazine-Director Interviews
Emily (Phoebe Dynevor) and Luke (Alden Ehrenreich) can't keep their hands off each other. The two twentysomethings are seemingly as in love with each other as they are with their jobs; they both work as mid-level employees at a high-powered Wall Street hedge fund, and have fully devoted their adult lives to their careers. It's an alpha male environment where only the ruthless survive, so the couple has kept their relationship secret from their colleagues, who would chew them up and spit them out if they learned the truth about their violation of company rules. There's a lot of employee turnover in a place like this, and when one of the managers can't hack it and gets fired, rumor has it Luke is going to score a big promotion. Emily is thrilled for him: They just got engaged, and things are looking up for the pair. But it turns out...
- 1/22/2023
- by Ben Pearson
- Slash Film
One of three editors on Sam Esmail’s Homecoming, Rosanne Tan was asked to tap into the visual and sonic style of “paranoid thriller movies [from] the past,” working within a broad conceptual framework set by Esmail, while trying to surprise him with the choices she made.
Based on a podcast by co-creators Micah Bloomberg and Eli Horowitz, the series is set at Homecoming, a facility claiming to help soldiers in their transition back to civilian life. Cutting back and forth between two time periods, the half-hour drama’s focal point is Heidi (Julia Roberts), a social worker at the facility who comes to intuit a much more sinister agenda on the part of her employer.
Cutting four episodes of Homecoming, Tan played a pivotal role in shaping the series’ tone and visual style. After working on the third season of Mr. Robot, the editor knew Esmail’s preference for unconventional,...
Based on a podcast by co-creators Micah Bloomberg and Eli Horowitz, the series is set at Homecoming, a facility claiming to help soldiers in their transition back to civilian life. Cutting back and forth between two time periods, the half-hour drama’s focal point is Heidi (Julia Roberts), a social worker at the facility who comes to intuit a much more sinister agenda on the part of her employer.
Cutting four episodes of Homecoming, Tan played a pivotal role in shaping the series’ tone and visual style. After working on the third season of Mr. Robot, the editor knew Esmail’s preference for unconventional,...
- 6/20/2019
- by Matt Grobar
- Deadline Film + TV
Both Amazon Prime’s “Homecoming” and Netflix’s “Russian Doll” provocatively play with the 30-minute format, cramming their existential journeys with confusing timelines and visual detail. But, thanks to binge watching, the two shows actually function like long movies, according to editors Rosanne Tan (“Homecoming”) and Laura Weinberg (“Russian Doll”).
In “Homecoming,” the ’70s-style conspiracy thriller from director Sam Esmail (“Mr. Robot”), social worker Heidi (Julia Roberts) tries to help troubled soldiers transition back to civilian life in one timeline (shot in a wide aspect ratio), while attempting to solve the strange mystery of her memory loss as a result of a nefarious plot in a future timeline (shot in a shorter aspect ratio). And, in “Russian Doll,” the black comedy from showrunner/star Natasha Lyonne, her self-absorbed software engineer, Nadia, repeatedly dies on her 36th birthday in a “Groundhog Day”-like loop, only to discover fellow traveler, Alan (Charles Barnett), also stuck in time.
In “Homecoming,” the ’70s-style conspiracy thriller from director Sam Esmail (“Mr. Robot”), social worker Heidi (Julia Roberts) tries to help troubled soldiers transition back to civilian life in one timeline (shot in a wide aspect ratio), while attempting to solve the strange mystery of her memory loss as a result of a nefarious plot in a future timeline (shot in a shorter aspect ratio). And, in “Russian Doll,” the black comedy from showrunner/star Natasha Lyonne, her self-absorbed software engineer, Nadia, repeatedly dies on her 36th birthday in a “Groundhog Day”-like loop, only to discover fellow traveler, Alan (Charles Barnett), also stuck in time.
- 6/6/2019
- by Bill Desowitz
- Indiewire
Gravitas Ventures has acquired all North American rights to Maggie Kiley’s Brightest Star, previously known as Light Years.
Chris Lowell, Rose McIver and Jessica Szohr star in the story of a young college graduate who sets out to win back the girl of his dreams. The cast includes Clark Gregg and Allison Janney.
The film will open in theatres and on VOD nationwide in late January 2014 following the recent world premiere at the 2013 Austin Film Festival.
Paul Finkel and Jason Potash financed and produced Brightest Star through Storyboard Entertainment alongside Kyle Heller and Gina Resnick, edited by Franklin Peterson and Cindy Thoennessen,
Gravitas Ventures negotiated the deal with Miller and Noor Ahmed of Reder & Feig on behalf of the filmmakers.
Chris Lowell, Rose McIver and Jessica Szohr star in the story of a young college graduate who sets out to win back the girl of his dreams. The cast includes Clark Gregg and Allison Janney.
The film will open in theatres and on VOD nationwide in late January 2014 following the recent world premiere at the 2013 Austin Film Festival.
Paul Finkel and Jason Potash financed and produced Brightest Star through Storyboard Entertainment alongside Kyle Heller and Gina Resnick, edited by Franklin Peterson and Cindy Thoennessen,
Gravitas Ventures negotiated the deal with Miller and Noor Ahmed of Reder & Feig on behalf of the filmmakers.
- 10/28/2013
- ScreenDaily
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