YAMAZAKI: During production I don’t do any kind of editing. HULLFISH: Did you work at all during production? While they were filming? And then that’s when he decides if this was a good take or a bad take. He’ll rewatch them and refresh his memory. That’s why the workflow has turned into this kind of “wait till we finish filming” so that he can concentrate on his directing on set and then worry about which takes to use after. He doesn’t like to think if that was a good shot or a bad shot. So he likes to concentrate on the directing when he’s on set. The reason he likes to wait until they finish filming is, as I said earlier, he doesn’t have a bad take. Masaki Okada as young actor Koji Takatsuki in Drive My Car. We sometimes spend days watching what we have, so we start together. Hamaguchi it’s a very unique workflow where they finish their principal photography, then he would come into the editing room and we would watch the rushes together. Generally, if I’m working with another director, I might work on the editor’s cut while they’re shooting.īut with Mr. Hamaguchi, it’s a little different than working with other directors. HULLFISH: Is it a typical workflow where you would edit an editor’s cut and show it to the director? Or do you work with the director even during production? Azusa Yamazaki, editor of the Oscar-winning film, Drive My Car. I mean, sometimes iPads, but usually I like to write down what I think or what I’ve noticed as I watch the rushes. YAMAZAKI: In general, my approach of taking notes is very analog. HULLFISH: Making handwritten notes or putting markers in the timeline? Click here for the full-resolution version.
#Drive my car full
The full Avid timeline for Drive My Car, provided by editor Azusa Yamazaki. But I watch it from the beginning to the end, not selecting, just watching the whole thing through from beginning to end. So the assistants will re-order the scene in sequential order of the story. So unless there is a technical problem that’s absolutely, obviously not good, I watch every single shot that’s been taken.
Hamaguchi film, in a way there’s no concept of a “not good take.” Every take is a possibility. HULLFISH: Do you watch in a selects reel or watch individual takes? Hidetoshi Nishijima as Yûsuke Kafuku in Drive My Car. I make a list as I watch the day’s footage. After my assistants have put together the rushes, I watch them from beginning to the end and I keep notes. YAMAZAKI: When I receive new rushes, new dailies, for this project I had an assistant, so they go through the new rushes and organize them for me first. HULLFISH: What is your approach to a new scene when the dailies or rushes come in? What do you do first? This article is an in-depth discussion of Drive My Car and may contain spoilers and plot reveals for those who have yet to watch the movie. Our discussion was through an interpreter-Naoki Tanaka-who is a friend of Azusa’s from film school.Ĭheck out the Art of the Cut podcast to listen to this interview, and stay up to date on all the latest episodes.
#Drive my car series
She has also cut several TV series in her native Japan. Azusa has edited numerous feature films, including Asako I & II, Dream of Illumination, and The Ark in the Mirage. Today we’re speaking with Azusa Yamazaki, the editor of Drive My Car, which won an Oscar for Best International Feature Film and a BAFTA for Best Film Not in the English Language.
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