Latest / Indie Film Hustle® - A Filmmaking Podcast / IFH 792: The Power of the Cut: Storytelling Secrets from Michael Trent

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IFH 792: The Power of the Cut: Storytelling Secrets from Michael Trent · Indie Film Hustle® - A Filmmaking Podcast

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Speaker 1: Broadcasting from the back alley in Hollywood. It's the Indie
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1:36
Speaker 5: Well, initially it's a family involvement. I mean, my father
1:40
Speaker 5: was a sound editor in England. He's now retired, so
1:46
Speaker 5: editing has been something that I grew up with, going
1:49
Speaker 5: to work with my dad. I've even got pictures of
1:51
Speaker 5: me back in the late nineteen seventies with single stripe
1:56
Speaker 5: and film in my hands. So it was really my
1:58
Speaker 5: father that got me involved. Also did go to a
2:01
Speaker 5: film school in England, a very small, relatively unknown one,
2:06
Speaker 5: but it was it was still a film course that
2:09
Speaker 5: I did in England. But essentially it was a family connection.
2:13
Speaker 2: So so you're basically born into it.
2:15
Speaker 6: So it was almost like was in your blood to
2:18
Speaker 6: get into the film industry.
2:20
Speaker 5: In lots of ways. Yeah, I mean it really was.
2:22
Speaker 5: It was something that we grew up with on a
2:24
Speaker 5: on a you know, really a day to day basis.
2:28
Speaker 6: So let me ask you this, is there a difference
2:31
Speaker 6: or of any kind, whether major or minor, between the
2:35
Speaker 6: the sort of the English film industry and the American
2:38
Speaker 6: film industry.
2:41
Speaker 5: If there is, I'm not sure that I'm really aware
2:45
Speaker 5: of it. When I was in England, I worked on
2:47
Speaker 5: lots of American films anyway, or at least, you know what,
2:49
Speaker 5: there were finance in the United States, so I couldn't
2:54
Speaker 5: really tell the difference. I mean, there's there's certainly larger
3:00
Speaker 5: budgets in the United States, and I did work on
3:03
Speaker 5: some English films that were of smaller budgets, but no,
3:07
Speaker 5: as far as the as far as my work experience
3:11
Speaker 5: is concerned, that there wasn't really a difference or isn't
3:14
Speaker 5: really a difference.
3:16
Speaker 6: So when did you first, you know, decide, I mean
3:18
Speaker 6: when you were editing actually, let me ask you this,
3:20
Speaker 6: when you were when you're going back into editing and
3:22
Speaker 6: you were actually you know, as as you were sort
3:24
Speaker 6: of born into this, did you have like a movie
3:26
Speaker 6: older at home or anything else when you were just
3:28
Speaker 6: sort of cutting your own films together?
3:29
Speaker 2: Or maybe even a Super eight camera.
3:31
Speaker 5: Well, no, we didn't have a movie older. They were
3:34
Speaker 5: quite big, big machines. But I did get used to
3:39
Speaker 5: using a movieoda from at the age of about I
3:42
Speaker 5: would say ten years old, because my father would bring
3:46
Speaker 5: us into work and I would get to use the
3:49
Speaker 5: machinery that and steambecks and flatbed coems. But we didn't
3:54
Speaker 5: have any equipment at home.
3:55
Speaker 6: No, So, Michael, when did you make the trip then
4:00
Speaker 6: from England to over here to America.
4:03
Speaker 5: In nineteen ninety four, So when you came.
4:07
Speaker 6: Over did you already have like a few gigs lined
4:09
Speaker 6: up in like movies to edit?
4:11
Speaker 5: No, No, not at all. I was on a movie
4:15
Speaker 5: that started in England and it was a picture called
4:18
Speaker 5: We're Back, a Dinosaurs Story. And I was a sound
4:22
Speaker 5: assistant on that movie and we were mixing at Twickenham
4:25
Speaker 5: Studios in England, and the executive producer on the movie
4:30
Speaker 5: was Steven Spielberg, and he saw the mix from Twickenham
4:35
Speaker 5: and wanted some changes and decided that it would be
4:38
Speaker 5: better to bring the movie from England to the United
4:41
Speaker 5: States to do the final mix at Universal. Actually we
4:46
Speaker 5: ended up at Toddeo. But actually it's the other way around.
4:50
Speaker 5: We ended up at Universal. That's how I initially came here. Yeah,
4:58
Speaker 5: that was all In. That was in ninety ninety and
5:01
Speaker 5: then I met a girl in fact on that movie
5:06
Speaker 5: and then went back to England. In the meantime we
5:09
Speaker 5: did the long distance relationship thing, and then I moved
5:12
Speaker 5: here completely in September of ninety four. But at that
5:16
Speaker 5: time I had no gigs lined up. When I arrived here,
5:22
Speaker 5: I really cold called British editors that i'd known in England,
5:28
Speaker 5: about five of them, and luckily for me, one of
5:32
Speaker 5: them came back actually with a job offer. So finding
5:37
Speaker 5: work was initially was I say, relatively easy for me,
5:42
Speaker 5: just because this particular way to pick me up and
5:45
Speaker 5: gave me a job.
5:46
Speaker 6: So at that point he knew you, so you didn't
5:49
Speaker 6: have to like show him like a reel or anything, right,
5:51
Speaker 6: so he actually knew you from before.
5:53
Speaker 5: Yeah, I knew him from England. And he was a
5:55
Speaker 5: British editor that would worked in England and then was
5:57
Speaker 5: working here. He was working on a pictureture called Rob
6:00
Speaker 5: Roy for Michael Katon Jones. The editor was Petere Hones,
6:05
Speaker 5: and I say I knew him from England. And he
6:08
Speaker 5: was one of the people I called and he just
6:10
Speaker 5: happened to have an opening at that particular time.
6:14
Speaker 6: So just to sort of follow up on that question
6:17
Speaker 6: and just to sort of, you know, if you're ever going,
6:19
Speaker 6: because I actually have some friends of mine who've actually
6:21
Speaker 6: gone from country to country. I think that's a really
6:23
Speaker 6: incredible feat because if you go to another even if
6:27
Speaker 6: you're in England, let's say, and you go from maybe
6:29
Speaker 6: Manchester to London, you know, you're depending betwd the size
6:33
Speaker 6: of the network you might have. You know, no nobody
6:36
Speaker 6: you know have to actually get your foot in the
6:37
Speaker 6: door through reels. You know, you're basically starting over from scratch,
6:41
Speaker 6: you know, and then going from a different country to
6:44
Speaker 6: another country. I mean, you really either have to a
6:46
Speaker 6: have a deep network or you have to be able
6:49
Speaker 6: to just sort of, you know, get your foot in
6:51
Speaker 6: the door in a lot of places. And I actually
6:53
Speaker 6: know a couple of people, Michael, who are actually moving
6:56
Speaker 6: from like different places like Australia to England because they
7:01
Speaker 6: want to actually get into the British film industry. So
7:03
Speaker 6: it's just kind of I always kind of find it,
7:05
Speaker 6: you know, fascinating, because just to be able to do
7:08
Speaker 6: that you either have to do one of the one
7:09
Speaker 6: of those two things, have a deep network, or be
7:11
Speaker 6: able to just knock on ten thousand doors to get one.
7:14
Speaker 5: Yes, yeah, well that that's right. I mean, you know,
7:17
Speaker 5: when I look back on it, it was a crazy
7:19
Speaker 5: thing to do, but I was young at the time
7:23
Speaker 5: and it didn't feel scary at the time. It was
7:27
Speaker 5: just something I wanted to do and for some reason
7:30
Speaker 5: I felt that it would work out, and to one
7:35
Speaker 5: extent or another, it has.
7:37
Speaker 7: So I feel very lucky, you know, don't you And
7:40
Speaker 7: you touched on something too, do you feel when you're younger,
7:43
Speaker 7: maybe you know, when you're first staring out in film,
7:45
Speaker 7: anything's possible, you know, like anything, you know what I mean,
7:48
Speaker 7: like you could.
7:49
Speaker 6: It just feels that everything's just going to come together
7:52
Speaker 6: where you're in a project or what have you just
7:54
Speaker 6: go you know what, I don't you know, damn the
7:57
Speaker 6: people who naysayers and I don't have a lot of budget.
8:00
Speaker 6: I don't have a lot of budget. I don't have
8:02
Speaker 6: a lot of you know whatever.
8:03
Speaker 2: But we're just going to go do something, you know
8:05
Speaker 2: what I mean?
8:06
Speaker 6: Because I mean, honestly, like I'm thirty two right now,
8:09
Speaker 6: and when I was first starting out, I would actually
8:11
Speaker 6: go out and shoot a hell of a lot more
8:13
Speaker 6: than I do now, you.
8:14
Speaker 2: Know what I mean, as a similar effect happened to you.
8:18
Speaker 5: I think that it was definitely my experience was I
8:25
Speaker 5: didn't really consider the possibility of failing. And that wasn't
8:30
Speaker 5: any kind of not meant in an arrogant way. It's
8:33
Speaker 5: just that I just felt that it would work out.
8:36
Speaker 5: It was something that I really wanted to do, to
8:39
Speaker 5: move to the United States and work in film editing,
8:42
Speaker 5: and it was just something that I felt would work out.
8:47
Speaker 5: And I wasn't scared about it, as I say, probably
8:52
Speaker 5: foolishly looking back, but I felt it was just something
8:57
Speaker 5: that would just happen.
8:59
Speaker 2: Yeah.
8:59
Speaker 5: Yeah, there's definitely a sort of a fatalist element to it.
9:05
Speaker 5: I guess I just didn't consider what would happen if
9:07
Speaker 5: I failed.
9:09
Speaker 6: Yeah, you take quitting and failing off the table, right,
9:13
Speaker 6: and basically you're like, you don't give yourself a choice.
9:16
Speaker 6: You just say say to yourself, listen, this is the
9:18
Speaker 6: you know, I have one option, and this is it
9:20
Speaker 6: I have to do.
9:21
Speaker 2: Go do this.
9:22
Speaker 5: This is what we're doing. That's that's basically was this
9:24
Speaker 5: is what I'm doing, yeah, yeah, And and there was
9:28
Speaker 5: no considering anything else. So it was just I mean,
9:32
Speaker 5: there's been periods of unemployment in the interim where things
9:36
Speaker 5: have not you know, always been easy.
9:37
Speaker 4: But we'll be right back after a word from our sponsor.
9:45
Speaker 4: And now back to the show.
9:48
Speaker 5: Initially, somebody was looking after me for sure, and it
9:53
Speaker 5: was Peter, honest, there's no doubt about that.
9:56
Speaker 6: So after that one editing job that we were just discussing,
9:59
Speaker 6: after that was over, you know, what what did you
10:01
Speaker 6: do to go out and to try to find like
10:03
Speaker 6: more assignments and more movies.
10:07
Speaker 5: After after Rob Roy, Yes, yeah, I was actually Peter
10:13
Speaker 5: Honess had another movie which we went straight onto, so
10:16
Speaker 5: I didn't have to do any knocking on doors. We
10:20
Speaker 5: went straight almost straight onto a movie called Eye for
10:24
Speaker 5: an Eye that John Schlesinger directed, and again he picked
10:29
Speaker 5: me up as an assistant editor on that movie. So
10:31
Speaker 5: we all moved on as a crew. It wasn't immediate,
10:33
Speaker 5: but it was within within a month or two, so
10:38
Speaker 5: we all moved on as a crew.
10:40
Speaker 6: So and then then basically did you keep like moving
10:43
Speaker 6: along with Peter as you as you from project to project?
10:46
Speaker 5: We did. We did Rob Roy eye for an Eye
10:49
Speaker 5: then we did, I think. Then the next one we
10:54
Speaker 5: did was l A Confidential in nineteen ninety six, So
10:59
Speaker 5: those were actually there was three movies that I moved
11:02
Speaker 5: along with Peter. He hired me on three three movies,
11:06
Speaker 5: and then I went elsewhere after that.
11:10
Speaker 6: So after you once, you know, I actually am looking
11:12
Speaker 6: at your IMDb right now and I have to ask
11:15
Speaker 6: you if you were the assistant editor on Saving Private Ryan,
11:18
Speaker 6: you know, getting to work with Spielberg and seeing some
11:20
Speaker 6: of you know, of the footage they first shot and
11:22
Speaker 6: everything like that.
11:23
Speaker 2: You know, what was it like to actually work on
11:26
Speaker 2: Saving Private Ryan?
11:28
Speaker 5: Oh? Well, that was It was an incredible experience from
11:34
Speaker 5: lots of points of view. First of all, we knew
11:37
Speaker 5: I'd read the script, so I knew it was going
11:38
Speaker 5: to be an amazing script, an amazing movie. But from
11:42
Speaker 5: a personal point of view, it was an amazing experience.
11:45
Speaker 5: We went from I'd worked on Armistad before that, and
11:50
Speaker 5: we went straight into Saving Private Ryan. But from say
11:56
Speaker 5: a personal experience point of view, we went from here
11:58
Speaker 5: to Ireland, took all the equipment with us, and we
12:01
Speaker 5: were editing in a field in Ireland. And then that
12:04
Speaker 5: was for the first three weeks of the for the
12:07
Speaker 5: shooting the opening sequence on the beaches, and then after
12:11
Speaker 5: three weeks we moved to Hatfield in England to a
12:15
Speaker 5: facility there which was an old aerospace museum and the
12:21
Speaker 5: set was built on the on the airfield. So, I
12:26
Speaker 5: mean everything about that movie was amazing at the time,
12:32
Speaker 5: and we knew it at the time and we were
12:33
Speaker 5: very excited to work work on the show.
12:36
Speaker 2: Did you ever get to actually meet Stephen at any point?
12:40
Speaker 5: Yeah, many times. I mean he would come to editing,
12:44
Speaker 5: usually at lunch time, and we would be ready for him.
12:47
Speaker 5: We knew it was all set up beforehand, so yeah,
12:50
Speaker 5: I'd be in the room with Spielberg and we'd be
12:52
Speaker 5: running on the camp and selecting dailies. So I met
12:56
Speaker 5: him on many occasions.
12:57
Speaker 6: Yeah, And I mean that obviously one of the most
13:01
Speaker 6: influential directors of all time. I mean it was just
13:05
Speaker 6: you know, And again the reason I bring that up
13:07
Speaker 6: is because of that he is just, you know, one
13:08
Speaker 6: of the most influential directors of all time, and you
13:12
Speaker 6: work with them afterwards on AI, which is an interesting
13:16
Speaker 6: project I wanted to ask about too.
13:18
Speaker 2: But so, so, what were some of the things you
13:20
Speaker 2: took away from working with Spielberg. Was there anything he
13:22
Speaker 2: told you.
13:23
Speaker 6: Anything that maybe you know that that he said that
13:25
Speaker 6: you just sort of like, oh, you know, that's a
13:28
Speaker 6: you know, you know, when you work with people at
13:29
Speaker 6: that level, it's sort of like you know what I mean,
13:32
Speaker 6: it's you're you're looking for something like a almost like
13:35
Speaker 6: a quote or something that have that epiphany, that aha moment.
13:39
Speaker 6: Is there anything he sort of said to you that
13:40
Speaker 6: just sort of still sticks with you.
13:43
Speaker 5: No, I mean, I don't really remember anything that that
13:46
Speaker 5: he said. I mean, it was just an observation of
13:49
Speaker 5: somebody that can work, that just has such amazing ideas
13:54
Speaker 5: that can seemingly be manufactured out of nothing. There's one
14:00
Speaker 5: particular story I talk about, and we were on Minority
14:04
Speaker 5: Report and we had been editing for a while and
14:10
Speaker 5: Spielberg was away, I think he was in Japan, and
14:13
Speaker 5: he called into the editing room with a note of
14:17
Speaker 5: a picture change to make. And it was not just straightforward,
14:22
Speaker 5: it was fairly complex. It involved three four shots and
14:26
Speaker 5: he said, I believe it will work better. And remember
14:29
Speaker 5: he's in a remote location, he's in Japan, and we
14:32
Speaker 5: make the change on the ken and well, not unbelievably
14:37
Speaker 5: because he's Steven Spielberg. But the change worked exactly the
14:41
Speaker 5: way he said it would, And it just said to
14:45
Speaker 5: me that he had some kind of video camera in
14:50
Speaker 5: his head that was able to actually run the footage
14:53
Speaker 5: back and then make editing changes in his own head.
14:57
Speaker 5: And I suppose from that point of view, I was
14:59
Speaker 5: thinking about, you can imagining the edit is something that
15:12
Speaker 5: I try and do, and and that was something that
15:14
Speaker 5: he did. And I suppose that's something that I try
15:18
Speaker 5: and I try and utilize in my career today. That's
15:23
Speaker 5: that's that's the best way I can answer that question.
15:26
Speaker 6: Oh answer, and Michael, and uh, I wanted to just ask,
15:29
Speaker 6: you know, a follow up. In editing as a whole,
15:32
Speaker 6: are you ever given the script, you know, along with
15:34
Speaker 6: the footage or are you just given like the script
15:37
Speaker 6: script supervisor's notes, so to speak, when you're when you're
15:39
Speaker 6: actually editing films.
15:41
Speaker 5: No, I have the I have the the line script.
15:44
Speaker 5: Each day, the the pages that were shot the day
15:47
Speaker 5: before come in and they're marked up from the script supervisor.
15:50
Speaker 5: And I worked with the script as I edit.
15:54
Speaker 6: Okay, I always, you know, I like to hear how
15:56
Speaker 6: different people work. And uh, you know, I've always wondered that,
15:59
Speaker 6: because I know, I was just reading about how sometimes
16:01
Speaker 6: you know, scripts are so carefully guarded and you know
16:05
Speaker 6: what I mean, and it's just sometimes the editor, the editors,
16:08
Speaker 6: you know, they'll just get you know, notes like that,
16:10
Speaker 6: or sometimes will actually be given the full script so
16:12
Speaker 6: they can actually just go, you know, read through it.
16:14
Speaker 6: And I've worked with different line producers too, who sometimes say, look,
16:17
Speaker 6: I get the script. I don't even read it, Dave,
16:19
Speaker 6: because I just I just see different things, like you know,
16:21
Speaker 6: are pulled out of it, and you know what I mean,
16:23
Speaker 6: and they just go from there. So so when you're
16:26
Speaker 6: working with you know, Spielberg, you worked with him again
16:28
Speaker 6: on AI, and I believe that that film was started
16:32
Speaker 6: by Kubrick, right, and then it was finished by step Spielberg.
16:36
Speaker 5: That's my understanding. I wasn't really involved in in the
16:40
Speaker 5: Kubrick end of it. I understand that Spielberg and Kubrick
16:46
Speaker 5: had had a conversation over a number of years about
16:49
Speaker 5: the making of AI, but I wasn't involved in the
16:53
Speaker 5: details of how that came about. I do remember that
16:57
Speaker 5: we had some footage that Kubrick had shot and it
17:02
Speaker 5: was footage of ocean waves and it was going to
17:05
Speaker 5: be used as an element in the in the submerged
17:08
Speaker 5: Manhattan sequence. But as far as the transition of the
17:14
Speaker 5: director being Kubrick to Spielberg, I wasn't really involved in that,
17:18
Speaker 5: I see and.
17:19
Speaker 6: Uh, because I was just always fascinated because you know,
17:22
Speaker 6: I heard so much about that movie and you know
17:24
Speaker 6: that it was started by Kubrick and then had to
17:26
Speaker 6: be finished by Spielberg and uh and everything else. And
17:29
Speaker 6: you know, I actually saw it in a in a
17:30
Speaker 6: film class I took in college, and I actually liked
17:33
Speaker 6: it a lot more than other people did because some
17:36
Speaker 6: people felt it felt at two different movies coming together, uh,
17:40
Speaker 6: when I always said, that's probably what it was, because
17:43
Speaker 6: it was with Kubrick and and Spielberg.
17:45
Speaker 2: But again, I just wanted.
17:47
Speaker 6: To ask about that because again, you know, that was
17:50
Speaker 6: a fall up to Spielberg. So just to sort of
17:52
Speaker 6: you know, take this into into, uh, your your career trajectory.
17:56
Speaker 6: You know, when you actually went from an assistant editor
17:58
Speaker 6: to the actual editor. You know, you've worked on some
18:01
Speaker 6: pretty cool projects and I want to talk about, you know,
18:04
Speaker 6: just how you became the editor. So what point did
18:07
Speaker 6: you realize that you were ready just to take on
18:09
Speaker 6: all the editing responsibilities and sort of be like that guy,
18:12
Speaker 6: so to speak. You know, when did you realize that
18:15
Speaker 6: you were you were finally ready to do all.
18:16
Speaker 5: That while it was in It was in two thousand
18:21
Speaker 5: and four when we finished the terminal and what happened.
18:25
Speaker 5: I mean you touched on it a little bit earlier.
18:27
Speaker 5: When you moved countries, you have to restart your career,
18:29
Speaker 5: and that was definitely my experience. As much as I
18:34
Speaker 5: was lucky to be picked up by Peter Hones, I
18:37
Speaker 5: had to spread out my you know, find new contacts,
18:42
Speaker 5: so essentially I did have to restart my career. And
18:46
Speaker 5: even even when I went with in with Spielberg's editing crew,
18:50
Speaker 5: you know, they didn't know me and and I really
18:54
Speaker 5: had to sort of prove myself. So if I'd done
18:57
Speaker 5: you know, eight years in England and I did another
19:00
Speaker 5: ten years eight or ten years here, I really felt
19:04
Speaker 5: after that amount of time I was ready. I mean,
19:06
Speaker 5: usually if I'd stayed in England, maybe I would have
19:08
Speaker 5: made the jump sooner. But because I really felt I had
19:11
Speaker 5: to restart my career in the United States, I was
19:14
Speaker 5: ready probably sooner. Than two thousand and four. At the
19:19
Speaker 5: end of the Terminal, a few things happened. Is that
19:24
Speaker 5: I moved up within the ranks of that editing room.
19:27
Speaker 5: One of the assistants who'd been with Michael Kahan before
19:31
Speaker 5: me moved on to edit himself, so I was able
19:34
Speaker 5: to move up into a into the first assistant position.
19:41
Speaker 4: We'll be right back after a word from our sponsor,
19:47
Speaker 4: and now back to the show.
19:50
Speaker 5: And I felt that I did the terminal and Munich
19:54
Speaker 5: as the first as actually one of the first assistants.
19:57
Speaker 5: So at that point I had gone as far as
20:00
Speaker 5: I was going to go in that editing room, and
20:03
Speaker 5: I felt again maybe fatalist. I felt that I could
20:08
Speaker 5: do it, and again I just decided that was what
20:11
Speaker 5: I was going to do. But in actual facts it
20:14
Speaker 5: was it was. I did finish the Terminal, I went
20:17
Speaker 5: and cut a picture, and then I was out of
20:20
Speaker 5: work for a while, and they offered me to come
20:22
Speaker 5: back on Munich, which I did, and then I've been
20:26
Speaker 5: editing ever since then on my own.
20:29
Speaker 6: So when you went out on your own, you know,
20:31
Speaker 6: did you have a reel with you and and say
20:34
Speaker 6: two different projects? Did you say, listen, I can I
20:37
Speaker 6: am you know, ready to be the editor now I
20:40
Speaker 6: mean so. And also at that point, did you have
20:42
Speaker 6: like a lot of your own tools, meaning that you know,
20:45
Speaker 6: at your house, do you have like your own editing
20:47
Speaker 6: bay set up and and you can work that way?
20:50
Speaker 5: I have done. I sometimes have had and I cut
20:57
Speaker 5: on my laptop, which is you know I'm talking to
20:59
Speaker 5: on my laptop right now. I have editing software or
21:04
Speaker 5: my laptop. I don't always like to do it because
21:07
Speaker 5: I like the separation between home and work, but I
21:12
Speaker 5: do have some equipment at home from time to time.
21:16
Speaker 5: But to go back to your previous question, first part
21:20
Speaker 5: of your question, I cut a couple of short films
21:23
Speaker 5: and one of them I cut on film, and then
21:24
Speaker 5: one of them I cut on a laptop using software
21:28
Speaker 5: called file Maker Pro. And I use those movies as
21:32
Speaker 5: a calling card and they help me get editing jobs.
21:36
Speaker 5: They certainly helped me get my first feature length movie,
21:40
Speaker 5: which was a picture called My Bollywood Bride or also
21:43
Speaker 5: known as My Far Away Bride. But I don't have
21:49
Speaker 5: an editing set up in my house. No.
21:52
Speaker 6: So actually that is a question I want to ask
21:54
Speaker 6: you too, Michael. It's about actual editing. You know, when
21:57
Speaker 6: you're actually on a film set or you're actually in
21:59
Speaker 6: the editing lab, you know, working on this. You know,
22:02
Speaker 6: ninety nine percent of the films now are all digital.
22:04
Speaker 6: They're shot you know with you know, probably one of
22:07
Speaker 6: you know, twenty cameras, but you know what I mean,
22:09
Speaker 6: but like versions of cameras, but they're all you know, digital.
22:12
Speaker 6: You know, you're getting either different cards or you're getting
22:15
Speaker 6: hard drives, you're getting something.
22:17
Speaker 2: So what do you edit on now?
22:20
Speaker 6: Is there like a specific editing software like Avid Premiere
22:23
Speaker 6: that you actually edit on?
22:25
Speaker 5: Yes, Avid Media Composer. I've used, as I say, I've
22:29
Speaker 5: used Final Cup Pro but not for a long time.
22:31
Speaker 5: But I've used Premiere very minimally, although I'd like to
22:36
Speaker 5: use it more. But my main tool is Avid Media Composer.
22:40
Speaker 6: And why is is Avid? I mean because I've heard
22:43
Speaker 6: other people using Avid. I'm like a Premier guy. I
22:46
Speaker 6: actually just downloaded Avid's free. I don't know if you
22:48
Speaker 6: know this, Stow, but Avid just released a complete, one
22:50
Speaker 6: hundred percent legit free editing software called Avid Media Composer Free.
22:55
Speaker 6: And it's sort of like a light version of Media Composer,
22:58
Speaker 6: the pro grade version. And I'm just you know, I
23:01
Speaker 6: get in there and play around a little bit. It's
23:03
Speaker 6: I'm so used to Premiere that it's a little there's
23:05
Speaker 6: obviously a learning curve. But you know what makes avide
23:08
Speaker 6: like basically what most pro editors want to use.
23:12
Speaker 5: Well, that's a that's a tough question. I don't. I mean,
23:15
Speaker 5: I use it because it's it's always been the system
23:18
Speaker 5: that's been available. I'm not sure that the tool I
23:23
Speaker 5: mean I've used. I've done the opposite to you. I've
23:25
Speaker 5: actually downloaded the free version of Premiere, so I've played
23:28
Speaker 5: around with Premiere in that sense. But the most honest
23:35
Speaker 5: answer is that I use Avidia Media Composer because it's
23:39
Speaker 5: it's what's been available to me, and that's made me
23:42
Speaker 5: get used to it, and that now that that's the
23:45
Speaker 5: reason I'm the most comfortable with with that system. It's
23:50
Speaker 5: just that's the one that was presented to me.
23:53
Speaker 6: Yeah, when I was actually teaching editing courses at a college,
23:56
Speaker 6: which is a whole nother story by the way, Michael,
23:58
Speaker 6: how I got into that. We had actually we had
24:01
Speaker 6: a meeting because one professor wanted me to put in
24:04
Speaker 6: Vegas Studios. The other professor wanted ADVID Media composer. The
24:09
Speaker 6: other professor wanted just Windows movie Maker, and then I
24:13
Speaker 6: want a premiere. So it's kind of like, well, how
24:15
Speaker 6: do you please everybody? Right, And so the answer was
24:21
Speaker 6: we ended up just going with premiere and when Windows
24:23
Speaker 6: movie Makers free anyway, and I think somebody else wanted
24:26
Speaker 6: final cut. I think this is what it was. So basically,
24:29
Speaker 6: you know, the one professor came to me and she goes, oh,
24:32
Speaker 6: I've worked in different productions and this.
24:34
Speaker 2: And that, and she she was getting info from other editors.
24:38
Speaker 2: She wasn't actually an editor.
24:39
Speaker 6: Actually, I was the only person that's ever actually edited
24:41
Speaker 6: a movie in the whole room, which was actually kind
24:43
Speaker 6: of funny. But everybody else just heard things like, oh,
24:46
Speaker 6: this is what this guy used, and this is what
24:47
Speaker 6: that guy used. So she was on productions and she
24:50
Speaker 6: was like, well, I heard from my guy that they
24:52
Speaker 6: only use ADVID and that's that, and that you shouldn't
24:55
Speaker 6: be using anything else. And I always like to ask
24:57
Speaker 6: because I always go back to that because it was
24:59
Speaker 6: actually kind of funny how we're on a room and
25:02
Speaker 6: we're all just sort of having a pissing contest, but
25:04
Speaker 6: which ending software to use? Right, So it's good I
25:08
Speaker 6: always That's why I always ask that question. And whenever
25:11
Speaker 6: the students when I actually whatever, whenever I would teach,
25:14
Speaker 6: they would go out into the field, most of them
25:16
Speaker 6: would find that people did you still use AVID?
25:19
Speaker 2: And then?
25:19
Speaker 6: But I always said, you know, don't worry about an
25:21
Speaker 6: actual software, worry about the principles of editing.
25:25
Speaker 5: Well, that's that's that's absolutely correct, and that's the reason
25:28
Speaker 5: I stick with AVID, although say, I'm certainly not against
25:32
Speaker 5: trying out Premiere. It's just that I want to concentrate
25:34
Speaker 5: on the storytelling aspect of editing rather than the sort
25:38
Speaker 5: of how do you make a dissolve? Which button do
25:41
Speaker 5: you push? There was a learning curve in the transition
25:46
Speaker 5: from editing on film to electronic editing for me, and
25:50
Speaker 5: I spent you know, a while getting used to working
25:54
Speaker 5: with the AVID. So once I was used to it,
25:56
Speaker 5: it's sort of it's the devil, you know. And as
26:00
Speaker 5: I say, just I want to concentrate on the storytelling
26:02
Speaker 5: aspect rather than the actual software.
26:04
Speaker 6: Yeah, I completely agree, one hundred percent. It's all about
26:08
Speaker 6: the story and telling the best story possible. And I
26:10
Speaker 6: wanted to talk to you also just you know about
26:13
Speaker 6: the hatred obviously, you know, I've been interviewing everybody in
26:16
Speaker 6: the cast and crew of the of this movie. I
26:18
Speaker 6: actually talked to a friend of yours, Thomas Fleming. Oh yeah,
26:23
Speaker 6: and Thomas was like, oh, make sure you talk to
26:25
Speaker 6: Michael Trent.
26:26
Speaker 2: That guy's amazing.
26:27
Speaker 6: And I was like, you know what, he's actually next
26:30
Speaker 6: on the list for me to talk to.
26:31
Speaker 2: So here we are.
26:32
Speaker 6: But I wanted to ask about the Hatred and about
26:35
Speaker 6: you know, editing the you know editing that, so, you know,
26:38
Speaker 6: how did you go about, you know, getting the gig
26:41
Speaker 6: on this movie.
26:44
Speaker 5: While it was a situation where I was, I knew
26:48
Speaker 5: the director. The director and I met at elementary school.
26:53
Speaker 5: Not to say that we met when we were eight, nine,
26:57
Speaker 5: ten eleven. Our sons went to the same element entry
27:00
Speaker 5: school here in Studio City and in in well, certainly
27:08
Speaker 5: the Studio City area. Whenever you meet parents, says, there's
27:12
Speaker 5: lots of people that are involved in the film industry.
27:15
Speaker 5: And Mike and I were just talking, just standing around
27:18
Speaker 5: and you know, we ask each other what we did.
27:22
Speaker 5: And that was a number of years ago. So I
27:25
Speaker 5: met Mike through our sons at school and had talked
27:32
Speaker 5: for well, probably a couple of years about filmmaking, and
27:38
Speaker 5: then he asked me to edit the short film of
27:41
Speaker 5: the Hatred, which was called Hush, and then we had
27:45
Speaker 5: a certain amount of success with that, and he asked
27:48
Speaker 5: me to edit the feature after that. So I didn't
27:52
Speaker 5: actually have to go out and get the job in
27:54
Speaker 5: this particular instance, because I already knew the director.
27:59
Speaker 6: And yeah, Mike key hoo, he's he's everywhere, right, I mean, yeah,
28:03
Speaker 6: By the way, do you know that the.
28:04
Speaker 2: Trailer for the film has over ten million views?
28:08
Speaker 5: I did hear that. I got Mike. I didn't know
28:10
Speaker 5: it was as much as ten million, but Mike Keehoe
28:13
Speaker 5: called me the other day and said we were up
28:14
Speaker 5: to seven point four million views. So that's just incredible
28:18
Speaker 5: that we're at ten million views.
28:20
Speaker 6: Yeah, it's I actually saw it go over, I think
28:23
Speaker 6: either on Friday night or last night, which is Saturday.
28:27
Speaker 6: I saw it roll over to ten million, and I
28:30
Speaker 6: was like, my god, this is you know, this is
28:32
Speaker 6: like a juggernaut.
28:33
Speaker 2: So I wanted to ask, you know, Mike, did you
28:34
Speaker 2: did you edit the trailer as well?
28:37
Speaker 5: No, I edited a version of the trailer, but I
28:41
Speaker 5: believe the trailer was made at through Lionsgate, and I
28:49
Speaker 5: believe that's correct. But no, I wasn't involved in editing
28:51
Speaker 5: of the trailer.
28:52
Speaker 6: Okay, I know sometimes the editors don't. Actually there's a
28:55
Speaker 6: whole different trailer editor and I just wanted to ask,
28:57
Speaker 6: you know, but so, you know, it's amazing over ten
29:00
Speaker 6: million views, and uh, you know, obviously when when this
29:03
Speaker 6: comes out on September the twelfth, you know, I'm actually
29:06
Speaker 6: you know, interested to see you know how you know,
29:08
Speaker 6: you know how how you know everyone responds and uh,
29:11
Speaker 6: you know because again, like Mike and I were saying,
29:14
Speaker 6: he wishes the movie was coming out, you know, this weekend,
29:16
Speaker 6: because he's like, you know, all these things are happening,
29:18
Speaker 6: and he goes, now we have a we have a
29:20
Speaker 6: whole nother month or so before it's actually out.
29:22
Speaker 5: Yeah. Yeah, So you know, Mike, I.
29:25
Speaker 6: Wanted to ask you about editing The Hatred. When you're
29:28
Speaker 6: actually editing a horror film like this, do you find
29:32
Speaker 6: that there's a lot more of I mean, obviously, timing
29:35
Speaker 6: is everything, right, So is there more of a of
29:38
Speaker 6: a timing when you're doing something like The Hatred with
29:41
Speaker 6: horror rather than maybe something more like I guess comedic,
29:45
Speaker 6: like like Gem and the holograms, which you also edited.
29:49
Speaker 4: We'll be right back after a word from our sponsor,
29:55
Speaker 4: and now back to the show.
29:58
Speaker 6: You know, I mean, obviously there are two very different films,
30:01
Speaker 6: so so obviously is there a lot of like what
30:04
Speaker 6: are some of the nuances that you have to sort
30:06
Speaker 6: of go through and you're editing to two different films
30:09
Speaker 6: just like that, just as an example.
30:10
Speaker 5: Yeah, there's definitely a difference. I mean with a with
30:14
Speaker 5: a movie like The Hatred especially, I mean the opening
30:20
Speaker 5: of the movie, well, the opening of the movie was
30:24
Speaker 5: I edited with a certain amount of suspense. When we
30:28
Speaker 5: introduced the girls, I edited, let's say, more of a
30:31
Speaker 5: normal movie. But when the the the entity starts to
30:35
Speaker 5: take over, the take over, the take over the house.
30:39
Speaker 5: But basically you edit to to put it simply to
30:43
Speaker 5: try and build tension and suspense the shots. I just
30:48
Speaker 5: keep the shots longer and hold on things a little
30:53
Speaker 5: bit more than I would certainly with a in an
30:56
Speaker 5: action movie or with a with a comedy. Obviously comedies
31:00
Speaker 5: very much tied up with timing as well. But if
31:03
Speaker 5: I was to put give you the broad strokes, is
31:07
Speaker 5: I generally hold the shots longer to try and build
31:10
Speaker 5: tension and suspense with a horror movie.
31:14
Speaker 6: So do you sometimes think that you know, And when
31:16
Speaker 6: I was getting into editing, I made the mistake of
31:19
Speaker 6: cutting too much. And what there was actually a professional
31:22
Speaker 6: editor who once told me, she said, Dave, when you
31:24
Speaker 6: cut too much like you're doing right now, it gets
31:27
Speaker 6: a sense like there's a fight back and forth, like
31:29
Speaker 6: a power struggle.
31:30
Speaker 2: And I and I started.
31:32
Speaker 6: Because when when I was acting, when what I was
31:33
Speaker 6: doing was I was cutting on the dialogue.
31:36
Speaker 2: So as soon as you were done speaking, cut go
31:38
Speaker 2: to the other person.
31:38
Speaker 6: And it was like, you know what I mean like
31:40
Speaker 6: it was and she goes, you see how that feels
31:41
Speaker 6: like almost like an argument? And I said, yeah, I
31:44
Speaker 6: get that now, I totally get that. And you know
31:47
Speaker 6: that that's some of the things that I've picked up
31:49
Speaker 6: too over the years. That's why I imagine, you know,
31:51
Speaker 6: when you're when you're doing horror, you have to hold
31:54
Speaker 6: onto those shots just a little bit more, hold onto
31:56
Speaker 6: those edits just a little bit more because you are
31:58
Speaker 6: trying to build that tension, the suspense.
32:01
Speaker 5: That's that's absolutely right. I mean there was one particular
32:03
Speaker 5: instance in the in the in the Hatred, and it's
32:05
Speaker 5: where Alice walks across the room before she's about to
32:08
Speaker 5: go down into the into the cellar, and we started
32:12
Speaker 5: that shot and kept it long. It was just so
32:15
Speaker 5: she could do the whole walk across. He goes past
32:18
Speaker 5: a wall in the room, but we kept the whole
32:23
Speaker 5: length of the shot and then also down the stairs.
32:25
Speaker 5: The whole piece was kept almost at full length. And
32:28
Speaker 5: it's for that exact reason. It was, you know, just
32:31
Speaker 5: to build to build that suspense. But definitely, I mean
32:35
Speaker 5: another example I can I can think of is it
32:39
Speaker 5: and this was in another movie I think, but it
32:40
Speaker 5: was a similar kind of genre, but a shadow appears
32:43
Speaker 5: on the wall, and rather than cut when she walks
32:45
Speaker 5: through the door, we start on the where the shadow
32:48
Speaker 5: first appears on the wall and hold that shot all
32:51
Speaker 5: the way through to when the character walks through the door.
32:54
Speaker 5: And again with the hope and the aim of creating suspense.
32:59
Speaker 6: So, you know what, are someone like the one final
33:02
Speaker 6: things that you you you hope just to talk about
33:04
Speaker 6: the Hatred, just to sort of like come full circle,
33:06
Speaker 6: you know what are some of the things that you
33:07
Speaker 6: you hope people take away from the Hatred after they
33:10
Speaker 6: get after a viewing of it, of the.
33:12
Speaker 5: Movie, well, I hope they. I hope they're scared, and
33:15
Speaker 5: I hope they talk about the movie afterwards. If they
33:19
Speaker 5: if if we put them the audience on the edge
33:21
Speaker 5: of their seat, then I believe that we've done our jobs.
33:25
Speaker 5: Uh as long as it's you know, they they enjoy
33:30
Speaker 5: the movie for those reasons, say and get scared, then
33:35
Speaker 5: then I'd be very happy.
33:38
Speaker 6: So, you know, Mike just sort of just continuing to
33:41
Speaker 6: talk about editing. You know, what, what are some of
33:43
Speaker 6: the tips or or principles that you've learned over the years.
33:47
Speaker 6: You know that you would you could you know, just
33:49
Speaker 6: sort of give the listeners who are maybe starting to
33:51
Speaker 6: edit their movies or or maybe just to something that
33:54
Speaker 6: you know, they could use if they're trying to edit
33:56
Speaker 6: their own movie.
34:00
Speaker 5: It's a good question. I think it probably goes largely
34:04
Speaker 5: goes back to what we were just talking about, is
34:06
Speaker 5: that you want to to say, first of all, read
34:13
Speaker 5: the script or read the scene, and then decide what
34:16
Speaker 5: the emotion of the scene is. If the emotion of
34:18
Speaker 5: the scene is a fight, then you would edit just
34:21
Speaker 5: as you described, you know, cutting very quickly on the
34:25
Speaker 5: dialogue lines or even on the dialogue to give the
34:28
Speaker 5: impression that one person is cutting the other person off.
34:32
Speaker 5: If it's a romantic scene, again, you'd roll those shots
34:35
Speaker 5: out a little bit longer to create that romantic atmosphere.
34:44
Speaker 5: Comedy probably speaks for itself, that is, you've got to
34:47
Speaker 5: cut to the right reaction after the right amount of time,
34:50
Speaker 5: after the punchline, and hold on the punchline for the
34:54
Speaker 5: right amount of time. I think that these are the
34:56
Speaker 5: things that I've learned the most, because I think that
34:59
Speaker 5: a lot of editors might have that tendency, as you
35:01
Speaker 5: just described, to cut too much. The other thing that
35:07
Speaker 5: you might I often think about is cutting to reaction
35:12
Speaker 5: shots and what is that person thinking, What is the
35:16
Speaker 5: opposing person thinking as that dialogue line is being spoken,
35:20
Speaker 5: and is it is it relevant to cut to their reaction?
35:24
Speaker 5: And I think it's all about generating the emotion that's
35:27
Speaker 5: intended by the writer. You know, that's written down, So
35:33
Speaker 5: I try and emulate what was originally imagined by the writer.
35:43
Speaker 6: And you're always you know, also you talking about reading
35:46
Speaker 6: the script and about if you know, find the essence
35:48
Speaker 6: of that scene.
35:49
Speaker 2: You know, what's the scene really about?
35:51
Speaker 6: You know, you hear that a lot too in writing,
35:53
Speaker 6: and you realize just how closely involved editing and writing
35:57
Speaker 6: are because you know, you're trying to build that atmosphere
36:01
Speaker 6: and now you're doing it with the actual footage while writers,
36:03
Speaker 6: you know, you're doing it and trying to get people
36:05
Speaker 6: to imagine this in their head, you know, trying to
36:07
Speaker 6: get like this a little there's these images and.
36:09
Speaker 2: How everything would pan out in their head.
36:11
Speaker 6: So you know, when they're they're very closely related, and
36:14
Speaker 6: you know, finding that core of the scene.
36:15
Speaker 2: You know, what's this scene really about?
36:17
Speaker 6: You know, maybe it's not really about a fight, that's
36:20
Speaker 6: just the after that's really the the sort of causation
36:23
Speaker 6: from the actual you know, uh, I guess I want
36:26
Speaker 6: to say core of the core of the problem for you,
36:28
Speaker 6: if you will.
36:29
Speaker 5: Mm hmm. That's that's that's correct. I think that you
36:33
Speaker 5: do work very very very much with the sort of
36:39
Speaker 5: the writer's intention in mind, or at least my interpretation
36:44
Speaker 5: of what the writer's intention was, and I edit with
36:48
Speaker 5: that in mind for sure.
36:50
Speaker 2: Yeah.
36:51
Speaker 6: And you know, and that's something too when when when
36:54
Speaker 6: if you're editing anything, I think you have to ask
36:56
Speaker 6: yourself those questions, you know, you have to ask you
36:58
Speaker 6: yourself those you know, why are we even why is
37:00
Speaker 6: this scene even in here? You know, obviously because somebody
37:03
Speaker 6: once told me about it about you could tell the
37:05
Speaker 6: difference between a good editor and a great editor.
37:08
Speaker 2: By how how how ruthless they'll cut stuff.
37:12
Speaker 6: And uh, there was this, There was this one time
37:14
Speaker 6: a friend of mine was on was telling me that
37:16
Speaker 6: it took them two days to get this scene right.
37:19
Speaker 6: And the editor said to them, look, you got to
37:20
Speaker 6: cut it, and and my friend said, who was the rector?
37:23
Speaker 6: He goes, but it took us two days to shoot
37:25
Speaker 6: this stupid thing. And the editor said, uh, yeah, but
37:28
Speaker 6: it has it adds absolutely nothing to the movie.
37:32
Speaker 5: Mm hmmm. I think that that's that, that's uh, that's
37:37
Speaker 5: absolutely right. I think that as an editor you also
37:39
Speaker 5: have to look at the edit with the big picture
37:41
Speaker 5: in mind. You you maybe edit a character, but then
37:48
Speaker 5: also edit that character with the whole story arc of
37:50
Speaker 5: the movie in mind. So if there's something that's going
37:53
Speaker 5: to pay off later and and there's a look maybe
37:59
Speaker 5: that you can hold on to, not to telegra necessarily
38:02
Speaker 5: telegraph to the audience, but it could be something that
38:06
Speaker 5: you say, you hold on a shot earlier in the movie,
38:07
Speaker 5: which then pays off later. But I think that definitely
38:10
Speaker 5: you have to edit with the whole movie in mind.
38:14
Speaker 2: Yeah, very true.
38:15
Speaker 5: And that also that includes that if a scene is
38:21
Speaker 5: not giving anything to the movie, even if it took
38:22
Speaker 5: two days to short, then you have to you have
38:24
Speaker 5: to cut the scene and and and be ruthless about
38:29
Speaker 5: it if in the big picture, that's that's what's best
38:32
Speaker 5: for the movie.
38:33
Speaker 6: You know, I always watched eleaded scenes off of some
38:36
Speaker 6: of my favorite movies on like Blu Rayro DVD, and
38:39
Speaker 6: and when I watched them, I can go, oh, you
38:40
Speaker 6: know what, now I see why it's sort of leaded
38:42
Speaker 6: scene because literally it added nothing to the movie. It
38:45
Speaker 6: added absolutely nothing, And if you actually put it in
38:48
Speaker 6: there would have you'll drug it down, yeah, because you
38:50
Speaker 6: don't want people in the theaters to be checking their
38:52
Speaker 6: watches going, oh my god, when.
38:53
Speaker 2: Is this thing going to be over?
38:56
Speaker 5: That's exactly right, And that's that's you know, that's the
38:58
Speaker 5: hope that we can judge what those scenes are and
39:05
Speaker 5: take them out for the good of the movie.
39:07
Speaker 2: Yeah, and very true.
39:09
Speaker 6: And that's where we want to make sure the movie
39:11
Speaker 6: just sort of flows all together.
39:13
Speaker 2: And I think that's what we're all going for.
39:15
Speaker 6: You know, even when we're running a script or you know,
39:16
Speaker 6: I'm actually you know, we're all trying to just make
39:18
Speaker 6: sure that we're a servicing the film as a whole
39:21
Speaker 6: rather than anyone's you know, ego, so to speak, and
39:25
Speaker 6: to you know, always making sure that the movie is
39:27
Speaker 6: just flowing together and not to just to just disjointed.
39:31
Speaker 6: If I could actually talk, that would actually help dis
39:34
Speaker 6: jointed it. So, Michael, we've been talking for about, you know,
39:36
Speaker 6: thirty five minutes now, so just imparting, is is there
39:40
Speaker 6: anything that you wanted to talk about that we didn't
39:42
Speaker 6: get a chance to or maybe just sort of any
39:44
Speaker 6: final thoughts but a period end of this whole conversation.
39:48
Speaker 4: We'll be right back after a word from our sponsor,
39:55
Speaker 4: and now back to the show.
39:58
Speaker 5: I only that you know, I've been I've been doing this,
40:02
Speaker 5: this job for a number of years, probably more than
40:05
Speaker 5: than I care to remember. But it's it's a I
40:09
Speaker 5: love the job to be. To be an editor is
40:14
Speaker 5: really for me, a satisfying profession. And as the cliche goes,
40:22
Speaker 5: if you enjoy what you do, then you never work
40:24
Speaker 5: a day in your life. And that for me about
40:27
Speaker 5: editing is absolutely true. It's a it's a passion of
40:30
Speaker 5: mine and something that I enjoy every day. If that's
40:35
Speaker 5: something I can offer up as a not that it's
40:38
Speaker 5: always easy. There's periods of unemployment, but if you if
40:44
Speaker 5: you stick at it, then it's a very satisfying career.
40:48
Speaker 6: Yeah, and and that that's a you know, a good
40:50
Speaker 6: way to sort of put it in a period. At
40:52
Speaker 6: the end of this conversation is you have to do
40:54
Speaker 6: with your life. You have to do what your love. Again,
40:57
Speaker 6: if I could talk Michael, wo'd actually be helpful. But
41:00
Speaker 6: but yeah, you have to do what you love. And
41:02
Speaker 6: you know that that's key to to to to life.
41:04
Speaker 6: You know, I you know, in myself included, sometimes I've
41:08
Speaker 6: just done things or work jobs that you just.
41:10
Speaker 2: Hate and you're like, what the hell am I doing
41:11
Speaker 2: to myself here?
41:13
Speaker 6: So you have to you have to really love this
41:14
Speaker 6: business to to to to make sure you're actually you know,
41:17
Speaker 6: you want to do it. And there's a lot of
41:19
Speaker 6: tests in the way that she makes sure you're like,
41:21
Speaker 6: are you sure you want to do this?
41:22
Speaker 5: Uh?
41:22
Speaker 2: Yeah, So Michael, where people find you out online?
41:26
Speaker 5: I'm sorry? What was that?
41:27
Speaker 2: Where where can people find you out online?
41:30
Speaker 5: Well? I have my IMDb page. I have a Vimeo
41:37
Speaker 5: h page also really just Michael Trent, film Editor. Uh
41:43
Speaker 5: google that and a bunch of my stuff comes up.
41:48
Speaker 5: My LinkedIn page, my IMDb page, the name of my agent,
41:53
Speaker 5: and my Vimeo page also come up. But yeah, Google
41:56
Speaker 5: Google my name and film editor and that's my online presence.
42:00
Speaker 2: And I will link to all of that.
42:02
Speaker 6: Everyone in the show notes at Dave Bullis dot com. Twitter,
42:05
Speaker 6: it's at Dave Underscore Bullets, and the podcast is at
42:09
Speaker 6: dB podcast. Michael Trent, I want to say thank you
42:11
Speaker 6: so much for coming on, and you know I'm looking
42:15
Speaker 6: forward to the.
42:15
Speaker 5: Hatred great and thank you for having me.
42:18
Speaker 3: I want to thank Dave so much for doing such
42:20
Speaker 3: a great job on this episode. If you want to
42:21
Speaker 3: get links to anything we spoke about in this episode,
42:23
Speaker 3: head over to the show notes at Indie film Huscle
42:26
Speaker 3: dot com Forward Slash seven ninety two, and if you
42:28
Speaker 3: have it already, please head over to Filmmaking podcast dot com.
42:33
Speaker 4: Subscribe and leave a good review for the show. It
42:36
Speaker 4: really helps us out a lot, guys.
42:38
Speaker 2: Thank you again so much for listening. Guys.
42:39
Speaker 4: As always, keep that hustle going, keep that dream alive,
42:42
Speaker 4: Stay safe, out there, and I'll talk to you soon.
42:46
Speaker 1: Thanks for listening to the Indie Film Hustle podcast at
42:49
Speaker 1: Indie film Hustle dot com. That's I N D I
42:52
Speaker 1: E F I L M h U S T l
42:55
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