HAWKEYE POS T- PRODUC T I ON .
Rosanne Tan, Terel Gibson and Tim Roche speak about their experiences editing the new Disney+ hit Editing like a Hawkeye
H awkeye is Disney+’s most recent global television triumph, and the fifth series within the Marvel Cinematic Universe (MCU) that continues after the events of Avengers: Endgame (2019). Starring Jeremy Renner as Clint Barton and Hailee Steinfeld as Kate Bishop, this festive offering was well-received by the public and critics alike, with many hailing its acting performances and editing sequences some of the studio’s best yet. Rosanne Tan notes that being able to sit with fellow editors, Terel Gibson and Tim Roche, was a useful way of bouncing ideas off each other, sharing opinions and finalising edits within Avid Media Composer, before pressing send to directors. “At the beginning of shoots, editing happened remotely. But we also met up and worked together, walking from one room to another, so it was a very comfortable set-up,” she says. Roche’s experience was similar. “Most of the time, we were based on the same floor together and that felt very organic. When editing, we could ask each other questions about how things work, from editor cuts to directors and so on. This meant that each one of us brought a different skill to the table that complemented the overall, final product.” Gibson was impressed by the hybrid editing system, which meant they could easily compare and contrast – to ensure they were all heading in the same direction. “Given there were different directing teams, we were still able to “The set-up meant that each one of us brought a different skill to the table that complemented the overall, final product”
throw edits back and forth to each other instantly,” he concludes. GETTING EMOTIONAL The plot, which follows one of the most undervalued characters within the Avengers, is in fact a really funny up-and-coming hero origin story, led by a detective narrative, set against the backdrop of a New York Christmas. It tackles recognisable, high-energy action sequences, yet turns them on their head, in order to look at harder-hitting social issues such as deafness. To work on storytelling and emotional beats amongst so much movement, Tan says: “Sometimes, you need to take all the edits, focus on the car chase shots first, then put all of that aside. It’s better to return to the table with fresh ideas the next day. Of course, when it comes to editing more emotional scenes, it’s a good experience because you wire your brain differently. You use the beats to do the work for you, quickly realising that some of those scenes need to be cut with fun, comedic moments. “The biggest challenge was dealing with shots that were recorded at
THE PROTÉGÉE Hawkeye sees Clint Barton train Kate Bishop, portrayed by Hailee Steinfeld (above)
31. APRIL 2022
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