00:00Amigos de Diario de las Américas, me encuentro con Taylor Joy Mason, la editora de Hymn,
00:09una alucinante mezcla entre horror, thriller psicológico que nos llega de la mano de Monkey
00:14Paw Productions.
00:20Taylor, anything is all about rhythm and suspense has such a unique timing.
00:28This movie feels like a nightmare where reality and fantasy kind of blur together.
00:34What did you, as an editor, discover or learn while working on this project?
00:40I mean, I learned that pace is everything.
00:44I mean, you can go from horror to comedy and maybe three frames sometimes.
00:50And being able to play with that in almost every scene was kind of a dream come true.
00:56We have almost every tone in this film, from satire to surrealness to seriousness and groundedness.
01:05And so, yeah, I really got to play with the form and timing in order to achieve different tones from scene to scene.
01:13Let me tell you something.
01:14The editing is super intense.
01:20Jump cuts, sudden shifts, flashes of frames, quick format changes.
01:26And then suddenly there is like a pause to breathe, build tension again and go all over.
01:32For you, as an editor, what was like the toughest part working with so much thing, so much things happening?
01:41Yeah.
01:41I mean, I mean, you said it right there.
01:43There's just there is an onslaught of information coming at you.
01:48And I think trying to balance the dissemination of it, trying to make sure the audience is in a place where they can even receive the information, because there's a lot going on visually and audibly.
01:59And there's, you know, music as well plays a huge part in this.
02:03And so it was all about trying to achieve the right balance so that even if the audience did miss some things, those are things that were OK to miss.
02:12And they were able to understand at least the most important parts of the narrative and then giving them a break to decompress.
02:19I think that towards the end of act two, when Cam enters the compound, it's like very quiet and measured.
02:26And you're just kind of allowing the audience to to sit and take a deep breath, try to reflect on what they just saw and get ready, you know, for some for things to come that, again, ramp up.
02:37So, yeah, it's keeping the audience in mind and and just measuring the amount of information that we're putting out there.
02:46Cam, are you OK?
02:47I think something's off.
02:48You don't know what you're getting yourself into.
02:53Now we play some football.
02:54What was the edition process like?
02:56How much raw footage did you get to work with?
02:59Did you go like through daily rushes or do you receive everything at once?
03:04No, we I cut alongside camera.
03:06I tried to keep up with camera, actually.
03:08But so, yeah, on day two, I received day one's footage, day three, day two.
03:13And I would just kind of cut as they went, which is really beneficial, because if there's anything that I think we might be missing or even set up that we might not need,
03:22I'm able to talk to production and say, hey, don't worry about shooting this.
03:25Or can we pick up, you know, this this side of a camera just to help help with the scene?
03:31And so, I mean, it was nice along that, along those lines, because it also didn't feel like I was siloed in this little dark room.
03:39I could have production and feel like really a part of the team, which is really nice.
03:43But yeah, and it was cool to kind of see what was going on.
03:48It was before I got I got the dailies.
03:50There are moments in the movie that feels like a music video or even a commercial for the rhythm.
04:06Were any films or other types of contents that inspire you in this process of editing him?
04:13Oh, yeah. I mean, Justin Tipping, the director, comes from like a music video background.
04:21I think he directed some in his earlier days.
04:24And and, you know, he he's a music head through and through.
04:27So like he injects it, I think, in almost all of his projects, which is really fun.
04:31And so some of the I think some of the the film references, there weren't many, but I know Gasper and always when his Enter the Void was a big one for some of the kind of acid trip moments in the scene.
04:45And the Holy Mountain, of course, like visually and just narratively, really, with like some of the social commentary and some of the camp and archness of it was a huge inspiration.
04:59But I think Justin's personal experience just with music videos was a lot of the inspiration for wanting to make some of these scenes very musical and and yeah, sizzle reel and energetic like.
05:14And so it was nice that he got to put that stamp on it and we were just, yeah, having fun making narrative music.
05:24What are we doing?
05:25Do you remember the first sequence that you caught and you thought, OK, I got it.
05:39This is the one of film that I want to do.
05:42Yeah, it was.
05:43It's the.
05:45Without weaving away.
05:46OK, yeah.
05:47Without spoilers, yeah.
05:49Well, I mean, there's a scene, I think, at the beginning of act two, where Cam is tasked with kind of pivoting and throwing a ball to the receiver and under two seconds.
05:59It's called the quarterback reverse drill.
06:01Yeah, yeah.
06:02With the other thing happening.
06:04Yes.
06:05Yes.
06:06They learn quickly that if he doesn't execute his tickets, you know, he's punished.
06:11So and I was brought back to really my experience in undergrad as I played volleyball and they I mean, there's just a lot of angst and shame and embarrassment if you mess up and your team has to run.
06:24And and I remember just getting so excited when I read it on the page and and and thinking about injecting my own kind of personal experience onto these characters and choosing performances that reflect reflect that, as well as showing how kind of time dependent and rhythmic football was as a sport.
06:44I was like, this is the perfect opportunity to do that, and it's the the best mashup of sports and horror, because getting yeah, jugs machine, I've never seen it used that way, hope I never have to after this, but I was very excited when I read that, when I read that scene.
07:01Don't have to do this.
07:04I've never been more certain of anything in my life.
07:06The first cut was so long, or is the final time is near of the final movie that we saw?
07:18No, it was pretty long.
07:19They usually are much longer than the first one because you want to like, keep you want the script to be on the timeline and you want the clay to be kind of bulky so that when the director comes in, we can make more precise decisions about what to take out.
07:33And you know, it's not going to be as long as it is when it starts, but it's important to like present everything as planned so that we can prioritize and pivot and decide like, what the best story is within them within that material.
07:47So it was long, but it was I mean, that's always okay.
07:50It's always expected.
07:51When you start cutting, do you feel that like there was this sequence that, okay, I really want to keep this and I'm going to fight for keeping this specific scene in the final cut?
08:14Ooh, you know, luckily we got to keep most scenes.
08:20There's one scene that I was kind of sad to lose, but it'll be a part of the deleted scenes when they come out.
08:28But, you know, I got to, I think every scene that we wanted in there was in there.
08:34I think there were moments within scenes that I would have liked to have kept because, you know, it gave us a certain, it gave us more context to our character, gave them more dimension or something like that.
08:46But I think we managed to find it in other ways.
08:49And at the end of the day, like if I wanted to keep in everything, the movie would be four hours long.
08:55So I think, you know, it has to end at some point.
08:58The audience has to go home to their families.
09:00But I think at the end, I'm really happy with what we have in there.
09:04And yeah, I think we told the story that we intended to.
09:08What if I say no?
09:10Ron, think of it as a gift from the guy.
09:13Please come watch him at a theater near you.
09:17It's going to be an amazing time, a weird time, a fun time, and a scary time.
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