Elísabet Ronaldsdóttir ræðir “Atomic Blonde”

David Leitch leikstjóri Atomic Blonde og klippari myndarinnar, Elísabet Ronaldsdóttir, við upptökur á DVD commentary myndarinnar.

Elísabet Ronaldsdóttir klippari ræðir vinnu sína við kvikmyndina Atomic Blonde, með Charlize Theron í aðahlutverki, við kollega sinn Steve Hullfish sem heldur úti dálkinum Art of the Cut á vefnum Pro Video Coalition. Þetta er afar ítarlegt og áhugavert spjall tveggja klippara þar sem bæði er farið í einstök atriði sem lúta að myndinni sjálfri sem og víðara spjall um hlutverk klipparans almennt.

Viðtalið var tekið í Kanada á dögunum, en þar vinnur Elísabet nú að klippingu kvikmyndarinnar Deadpool 2. Viðtalið er í heild sinni hér, en að neðan er úrdráttur þar sem Elísabet ræðir sérstaklega um nokkrar senur myndarinnar ásamt sýnidæmum. Atomic Blonde er væntanleg í bíó hér á landi þann 9. ágúst.

HULLFISH: Do you have anything to say about any of these scenes from Atomic Blonde?

This is when Lorraine goes to meet Lasalle. Beautifully shot by Jonathan Sela. I believe we had a two-minute track of Lorraine walking up to the bar, but as stunning as it was we cut it down for the sake of pacing.  We did cut out some dialogue and, as in many other scenes, it was a challenge as they are always both in frame. We all know Charlize Theron is an amazing actress but Sofia Boutella was a discovery for me, I find her amazing as well.

I was editing on set for this scene as it’s meant to feel as one single take. We shot it chronologically and tested each edit to make sure it was working. I did it on my laptop and got playback files from the camera on a memory stick. I worked closely with our VFX supervisor from Berlin, Michael Wortmann, we proudly claim we invented the Budapest stitch but it was freezing cold and I can’t remember the details of that genius invention, but it worked.

Lorraine is taking an ice-bath to ease the consequences of her earlier fights. The wide shot of the room is repurposed from the beginning of this scene that we cut out and we slightly zoomed digitally into it to add movement and tension.  Also, when Lorraine attacks Percival with the bottle I did a split screen in order to delay Percival’s reaction to it. This was such a fun scene to edit, also the dialog that follows but is not included in this clip, as the chemistry between Theron and McAvoy is so charged.

Viðtalið má lesa í heild hér: ART OF THE CUT with Atomic Blonde editor Elisabet Ronaldsdottir by Steve Hullfish – ProVideo Coalition

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Klapptré er sjálfstæður miðill sem birtir fréttir, viðhorf, gagnrýni og tölulegar upplýsingar um íslenska kvikmynda- og sjónvarpsbransann. Ritstjóri og ábyrgðarmaður er Ásgrímur Sverrisson.

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