Film editor Alan Baumgarten may embark on a second profession as a juggler. Not that he has an curiosity in bowling pins or the circus, however the longtime slicing craftsman has made a specialty of, properly, juggling many characters and non-linear plots into clear, coherent viewers experiences. Baumgarten was nominated for an Oscar for 2013’s “American Hustle” and once more this 12 months as one of many six nominations (and maybe probably the most no-brainer nod of all of them) notched for Aaron Sorkin’s huge ensemble drama “The Trial of the Chicago 7.”
The movie depicts an inflammatory political and cultural interval in 1968 and 1969, and accommodates greater than two dozen characters, from attorneys and defendants to judges and authorities officers. Though the scale of the forged was formidable, Baumgarten’s best problem got here in a six-minute scene that narrow-focused on two characters and a fancy flashback to a riot outdoors the 1968 Democratic Convention in Chicago.
Baumgarten defined to TheWrap 5 essential enhancing parts that got here collectively to construct the scene, an lively dramatization of a second that types the crux of the movie. You can watch the complete scene beneath.
Clarity is an important factor
“My biggest concern was clarity,” Baumgarten mentioned. “But the way this whole sequence was structured by Aaron helped me a lot.” As the scene begins, the viewers is aware of that protection legal professional William Kunstler (Mark Rylance) has obtained a damning piece of proof in opposition to one of many Chicago 7, Tom Hayden (Eddie Redmayne), about what occurred months earlier on the Democratic Convention.
“So Kunstler takes the role of the prosecutor for a mock interrogation,” Baumgarten mentioned. “What then unfolds is a lot of complicated footage, but once we’ve established that this is a mock interrogation and positioned the characters clearly in the scene, then we can intercut between Kunstler and Hayden and the flashback. The audience catches on quickly and can follow the rhythm back and forth.”
Don’t be afraid to shift tone
Halfway by way of the scene, the storytelling function is picked up by Hayden’s fellow defendant Abbie Hoffman (Oscar nominee Sacha Baron Cohen). But not within the mock interrogation. Instead, we see Hoffman describing the Chicago riot whereas onstage in entrance of an viewers, at a unique date and time.
“You could have done the whole scene as just an argument between Kunstler and Hayden,” Baumgarten mentioned. “But the added element of Abbie further increases the energy level, just at the right time. And his tone is much more buoyant, which is also very helpful for the audience. It’s a very serious subject but Abbie brings a certain amount of welcome levity.”
Not every little thing must be defined
The scene does function some black-and-white archival footage from Chicago in August 1968, when protestors and the police violently clashed. The police had closed entry to a number of bridges that led to the conference heart, a bit of historic element that Baumgarten felt may he wanted to deal with within the clip.
“The geography of the gang’s actions took a while for me to determine,” he mentioned. “I spent a few days on it, trying to determine which street was which and which bridge was which. And Aaron came in and basically told me, ‘Bam, bam bam. All we need to know is that these bridges were blocked by police.’ And he was right. The exact path of the protesters wasn’t as essential as knowing that their path was obstructed.”
He added, “In order to distill probably the most important materials, there was no room for something extreme or pointless.”
Good dialogue can allow a wilder visible method
Though a part of it depicts a riot, Baumgarten didn’t need the scene to be a jumbled assortment of crowds preventing onscreen. Yet, he knew that quick cuts would improve a visceral, tense high quality. That depth was solely potential, he mentioned, due to Sorkin’s screenplay.
“The through-line within the sequence is…
