Editor Tatiana Riegel on I, Tonya, River’s Edge, Pulp Fiction and There Will Be Blood

Filmmaker Magazine | 3/9/2018 | Matt Mulcahey
Click For Photo: https://filmmakermagazine.com/wp-content/uploads/2018/03/tonya-628x348.jpg

by Matt Mulcahey

in Columns, Editors, Interviews

Tatiana - Riegel - Step - Oscar - Editor

Tatiana Riegel’s first step toward becoming an Oscar nominated editor happened on the set of The Love Boat.

20th Century Fox Studios was just a short walk from where Riegel grew up in Los Angeles and around the time she turned 12 she began wandering onto the lot. “There wasn’t much security back then,” laughs Riegel. “I would watch shows like The Love Boat and M*A*S*H being shot, and I would go into the commissary and see everybody all dressed up in their costumes. I think people just assumed I was someone’s kid and kind of ignored me.” Her visits were typically brief. “It was really fun, but it didn’t take me that long to get bored,” she says. “That’s probably why I ended up in editorial rather than working on set.”

Riegel - Movie - Career - Assistant - Editor

Riegel’s movie career began as an assistant editor in the mid-1980s, a role that included an extended stretch working under Pulp Fiction editor Sally Menke. She graduated to cutting her own films with projects like The Men Who Stare at Goats and The Way Way Back and also forged a long and fruitful collaboration with director Craig Gillespie (Lars and the Real Girl, Fright Night). Her latest film with Gillespie, I, Tonya, offers an unsparing yet empathetic look at figure skater Tonya Harding (Margot Robbie), who along with her ex-husband (an unrecognizable Sebastian Stan) was implicated in an attack on an Olympic rival on the eve of the 1994 Winter games.

Filmmaker: The first thing I see on your IMDB resume is an apprentice editor credit on River’s Edge (1986). I haven’t seen that movie in a long time, but it definitely made an impact and has stayed with me. How did you land that first job and what exactly did an apprentice editor...
(Excerpt) Read more at: Filmmaker Magazine
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