“The More Real We Could Make the Film, the More Unsettling It Would Feel”: Editor Benjamin Moses Smith on Spree

Filmmaker Magazine | 1/24/2020 | Filmmaker Staff
Click For Photo: https://filmmakermagazine.com/wp-content/uploads/2020/01/Spree-Sundance2020-628x348.jpg

by Filmmaker Staff

In Eugene Kotlyrenko’s Spree, a rideshare driver, Kurt (Joe Keery), dreams of social media fame—but he’ll settle for notoriety. He decks his car out with eight cameras and livestreams something called #TheLesson, which quickly results in carnage. Editor Benjamin Moses Smith talks about the editing of a “live stream” movie, the sensitive material integral to the film and his impending title as “the best “8 cameras mounted inside of a car editor in the world.”

Filmmaker - How - Editor - Film - Factors

Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that led to your being hired for this job?

Smith: Eugene Kotlyrenko and I have been working together since I moved to Los Angeles in 2012. He brought me on to cut a web series called Feast of Burden for MOCAtv, the LA art museum’s YouTube channel. I loved editing it and working with Eugene, who was obsessed with pushing the scrappy footage we had to its maximum potential. He demanded we try anything and everything to squeeze every bit of cinema out of the cut. Our instincts really lined up, both in how they overlapped and how they opposed each other. We’ve been making stuff together ever since. This is our third feature, after A Wonderful Cloud and Wobble Palace.

Filmmaker - Terms - Film - Assembly - Cut

Filmmaker: In terms of advancing your film from its earliest assembly to your final cut, what were goals as an editor? What elements of the film did you want to enhance, or preserve, or tease out or totally reshape?

Smith: The film takes the form of a continuous live stream, shot mostly from 8 cameras mounted inside the main character’s “Spree,” a fictional ride share app. His phone, its apps and interface, as well as footage he streams from it are also a huge component....
(Excerpt) Read more at: Filmmaker Magazine
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