PLAINCLOTHES POST
LOOKING IN THE MIRROR As a gay man, Vogt-Nilsen related to the turmoil of Lucas’ queer reckoning
THE SCRIPT CAPTURED A MIX OF joy, anxiety, fear and shame I REMEMBER” Reflecting on the ov erall project, Vogt- Nilsen describes it as an amazing growth experience for him as an editor. The biggest challenge? “Building the initial editor’s cut completely on my own from a drive full of footage. I hadn’t tackled a project like this before. Usually, I’d work through a film in stages with the director or have an assistant editor onboard for creative or technical support. “But despite the tight deadline, I was able to deliver an editor’s cut that I was genuinely proud to share with Carmen, and I was proud of myself for accomplishing it.”
and had just five weeks to turn around his initial cut. Working independently and faced with mountains of footage, he adopted a structured approach, committing to a pass of each scene at least three times: first for assembly; then experimentation with performance and pacing; and finally a polish, adding music and SFX. “When Carmen then joined me for the director’s cut, we continued this disciplined workflow approach, aiming to complete a few scenes per day while remaining flexible enough to accommodate complex sequences,”
he explains. “This rigorous schedule kept us on track and also fostered this great ’trust and move on’ dynamic. We managed to avoid overthinking individual scenes and instead focused on the film’s broader themes, trusting our instincts. “It was challenging,” he continues, “but it was also strangely liberating because it allowed us to concentrate on the bigger picture, while knowing that we could revisit scenes later as and when new ideas emerged. This fast-paced process really sparked a dynamic and creative collaborative relationship between us.”
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