Making a modern day giallo–an Italian thriller known for its over-the-top tropes–directors Matthew Kennedy and Adam Brooks talk to Filmmaker Magazine about their meticulous low-budget production of The Editor.
Says Kennedy, “We tried to reference and replicate as many giallo elements as we could. There are a lot of neo-giallo films these days that sort of go halfway in their reference to the genre, and it was important to us to make the experience as complete and authentic as possible. The complete giallo experience means shooting m.o.s. (without sound) and dubbing the dialogue in post, lighting with super saturated colours, doing take after take to get a zoom just right and featuring that distinct black leather glove-wearing, straight razor-wielding killer. As far as music goes, having The Editor theme composed by Claudio Simonetti (the godfather of giallo scores) certainly helped us to set the stage for all the additional musicians we brought on to score the film in beautiful ’70s synth glory. Likely the most difficult element to replicate was the m.o.s. shooting model. Building all your audio from nothing in post is an extremely arduous and time consuming process. Adam will also attest to the fact that trying to edit and find the rhythm of a scene that is void of any audio is no easy task.”
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