They wake up in a white room remembering nothing. And I’m super proud of what we did as a team.Released Date: Decemtill February 26, 2016 So I’m super grateful to for their input, their attitude, and their blood, sweat, and tears. But it is a profound difference when you have more footage that is spontaneous and improvisatory. They don’t understand what it means on the ground. “People hear that more footage means more work, but they don’t really understand it. Butler, Julie Cohen, and Aleshka Ferrero were all essential in finding a final shape for the series. “My first cut of Episode 1 was an hour and 45 minutes,” he said, adding that co-editors Nikola Boyanov, Aaron I.
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The number of options available to Perez both in terms of calibrating the relationship and figuring out which takes to use from hours of footage meant that his first cuts were longer than any other hour-long series he ever edited. It’s carefully constructed to give you the experience of sometimes being on a ride with Jocelyn, sometimes on a ride with Tedros.” If you had an overt and obvious understanding of exactly where Jocelyn’s at from frame one to the end of Episode 5, the show would be dead in the water, just boring. “In commercial storytelling, if you do it without tension, you’re dead,” he said. The ambiguity of the relationship and the question of how much agency Jocelyn has in any given scene have led to a lot of online debate and controversy related to the series, but Perez embraces the complexities and shifts in perspectives that some viewers have trouble comprehending. When you take two or three cameras capturing improvisation, and certain discoveries are elaborated upon and explored, the footage starts to become voluminous.” “Sam was not just trying to capture lightning in a bottle, but lots of little bottles of lightning from scene to scene. “The shooting ratios were comparable to the documentary work I’ve done in the past,” Perez said. Shooting with two or three cameras instead of the one typically used on “Euphoria,” combined with the greater degree of improvisation not just in terms of the dialogue but in terms of the blocking, meant Perez and his collaborators were faced with a mountain of footage. “Sam wouldn’t make the decision merely for that, but it does allow you to get things done on a certain timeframe,” Perez said. According to Perez, there was a more practical rationale as well: Given that the whole series was reshot after an initial version was tossed out, capturing as much footage as quickly as possible was essential. “He was really interested in the way that type of storytelling is different from a more highly premeditated and articulated version of cinematic storytelling.”įor Levinson, the language of reality television, in which action seems to be caught on the fly by multiple cameras rather than designed, provided the proper lens through which to view pop star Jocelyn (Lily-Rose Depp) as someone living her life in the spotlight.
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“Sam locked into a reality TV aesthetic,” Perez said. Where “Euphoria” often feels influenced by ’90s masterpieces like “Casino” and “Magnolia” in its elaborately choreographed tracking shots and elegantly crafted compositions, “ The Idol” takes its cues from the looser styles of ’70s Hal Ashby and Robert Altman - as well as another influence that might seem surprising coming from a cinephile like Levinson.
The change in strategy, from a more intentional single-camera methodology derived from the work of Martin Scorsese and Paul Thomas Anderson to an improvisational multi-cam approach, was dictated by factors both artistic and pragmatic - and it had profound implications for Perez’s work as an editor.
“The visual language is fundamentally different,” editor Julio C. When HBO’s “ The Idol” premiered earlier this month, it quickly became clear to fans of series co-creator Sam Levinson‘s “ Euphoria” that they weren’t going to get a continuation of that show’s stylistic motifs.
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