Hollywood Veteran Editor Mark Warner & Ladies in Black + Brendan Young Part 2
Bruce Beresford's editor of choice; Hollywood veteran Mark Warner
"For me, editing becomes bad when I become aware of it"
Beresford's long in development Ladies In Black has opened nationally. Set in Sydney in the summer of 1959, the coming-of-age comedy drama is nostalgic but does not wallow in the stuff, and carries a strong personal sub-text.
It makes you realise that ensemble tales are Beresford's dramatic forte, going back to 1976 with Don's Party and continuing with Money Movers (1979), Breaker Morant (1980), The Club (1980), Crimes Of The Heart (1986) and Paradise Road (1997).
Longtime Hollywood editor Mark Warner began working with Beresford on Driving Miss Daisy (1991), the beginning of a creative association which continues to this day. The pair have collaborated on 7 feature projects including their aforementioned Daisy which earned him an Oscar nomination.
Mark's father, Steve Warner worked in sound design, often with the celebrated Ben Burtt, and it was inevitable that his son would follow his father's calling. One of Mark's early mentors was Hollywood outsider and innovative editor-tuned-director Hal Ashby. Mark worked as assistant to Ashby on such landmark features as Coming Home (1978) and Being There (1979). Another strong influence was Don Zimmerman. They shared joint editing create on Rocky III (1982) and Staying Alive (1983), the ill-fated sequel to Saturday Night Fever.
It was Ashby's belief that the function of a film editor was technical, but also creative and emotional. He was fond of saying "don't try to second guess the director, let the film guide you and trust your instincts.”
In this long form exclusive interview, Mark talked about the challenges involved in matching archival footage with present day scenes, the impact of digital technology over celluloid, what happens when a director is replaced mid-production, and other facts of the editor's craft.
There's no stopping Brendan Young
In part 2 of a 3-part interview With Brendan Young, he talks about his time spent with Alex Proyas at his production company Meaningful Eye Contact, developing projects including a Cormanesque low budget sci-fi spoof abandoned early in production, his award winning short Three Chords And A Wardrobe (1999) with Marcus Graham and Sophie Heathcote, and his uncompleted feature ground-breaking documentary about film dubbing which took him around the globe equipped with a Hi-8 camera.