Gillian Robespierre follows up her breakthrough debut feature Obvious Child with the new ensemble dramedy Landline, about a teenager who discovers her father is having an affair. Robespierre brought on Obvious Child editor Casey Brooks to cut her latest film as well.
“This film was our first ensemble feature. Not only that, but the movie rides the line of comedy and drama. So we knew it was going to be a challenge,” Brooks tells Filmmaker Magazine. “I knew from reading the script that the film would be funny, but I didn’t realize how beautiful the dramatic scenes would be until I saw the dailies. I was really blown away by the performances in the film. The whole cast really brought it. So we wanted to make sure those scenes were preserved. But keeping those dramatic moments balanced with the comedic moments was tricky. I think some of the early cuts we tried to jam in a few too many jokes and we realized that was taking away from the more intense dramatic scenes. So we pulled some of the comedy back a little and in doing so we realized the core comedic moments became even funnier. On top of all of that, we were bouncing around between certain characters and story arcs. So keeping a balance between all of this was the name of the game. It was by far the most challenging film I’ve worked on.”
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