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Jeff Ford Interview
[00:00:00] Kenric: all right, guys. Welcome back. And today on the show, it’s going to be super fun because I don’t know. Maybe you’re the one or two people that saw Avengers end game in the movie theater. Maybe, you know, the family stone with Sarah Jessica Parker.
I don’t know. You might. I do actually love that movie. Maybe you’re a big fan of the Avengers, age of Ultron and. And civil war. I don’t know. maybe not. But if you are, then we’re going to talk with you. Editor Jeff Ford right now today. Jeff. Thanks for coming on.
Jeff Ford: Hey guys. Happy to be here.
Kenric: So man, you have been editing for quite a while now. And if I just go by what is online, I believe the yards with it, with the director, James Gray was your first. Major movie
Jeff Ford: that’s right. Yup. For Miramax back in the back, we started that in 1998 and James and I went to film school together. So we’ve been friends forever and that’s how I got on that picture.
So he, I really owe him my career. He got me started and he’s a great man and [00:01:00] great director. I’m a big fan of him.
Kenric: You’ve worked with some major directors. I mean, just off the cusp, Billy Ray, David Ayer, Michael Mann. Joe Johnston, Josh Weeden, Shane black. I mean, the list goes to the Russo brothers.
The list goes on and on what’s the, I mean, do you just like drive into work and go? I can’t believe I’m doing this for a living.
Jeff Ford: pretty much, I mean, I’ve wanted to do this since I was a little kid. I mean, I started making super eight movies when I was, you know, in fourth or fifth grade, I grew up in, went to high school in Portland, Oregon, actually.
And I was down there, you know, most making movies, a super eight. Spiderman movies when I was in fifth grade with my friends, the, a Spiderman costume. Yeah. And we’d come up with these stories and we’d do Jeezy special effects. And, you know, it was ridiculous, but I feel like I kind of have been doing the same thing since I was then, you know, I feel like, you know, when the day we did.
Yeah. The first day Tom Holland was on the set on civil war and I was, we were shooting. I was like, Oh my God, I can’t believe it. I haven’t changed. And it’s, and you know, since I was in fourth grade, so [00:02:00] it’s a dream come true. I’m really lucky. Yeah. that I met the people that I did and the career that I have, because I really love doing it.
But yeah. Getting to do that, getting to work in the Marvel cinematic universe was I didn’t expect it was going to happen. I didn’t plan for it to happen. Ben and I got, you know, just, it just it’s been really awesome.
Kenric: Were you a big comic book fan growing
Jeff Ford: up? Yeah, I was a big fan and I collected quite a bit.
and, I was more of a DC guy only in that when I collected both Marvel and DC, but I was really into the DTO Neal Adams, Batman run in the mid seventies, the Rasic will thing and all that stuff. I love that stuff. I loved. You know, I was a big Superman fan and they kinda got into filmmaking.
Cause I was so into the 1978 Superman by Richard Donner. and I think I was a comic book, nut and reading a ton of comic books. But then that movie came out. Of course I had to see it to see how they deal with that character. And I, it blew my mind cause it was so beautifully made. It was so real. And it was so there was no, it was dealt with the character was handled with respect and it blew my mind and [00:03:00] I said, Oh my God, I, movies are.
As vivid and amazing as comic books. And I really got into science fiction and fantasy movies at that point. and then years later I got a chance to work with Richard Donner on another movie when I was an assistant, I couldn’t believe it. It was like, I, you know, I told him, I’m like, dude, you don’t understand I’m here because I went to see your movie in 1978.
And I have been a big fan since. And, and I, you know, I thanked him for everything. Cause he really is the grandfather or the godfather of modern,
Kenric: superhero movies.
Jeff Ford: Yeah. I mean FYGI and I talk about it all the time. That’s the movie that lit the fuse and said, Oh my God, that’s how you do it.
You do it not take it. You take it straight up and any, and if you look at that movie, look at that cast, Marlon Brando, gene Hackman, you know, Ned Beatty, Christopher Reeve, incredible actor, Margot, Kidder, all those people. Great cast like that. Wasn’t a slumming CLA cast. It wasn’t ball. They went full on and they got great performances and Donner’s just, you know, awesome at bringing stuff to life.
So anyway, that’s how I got that’s how I got
Kenric: lit up. Hunter was so that [00:04:00] Superman was so good. I think that came out in. 77
Jeff Ford: Christmas, 78,
Kenric: 78. So I saw it in the theater. Yeah. And then I remember, but I re so I don’t remember. I remember going and I remember flashes of it, you know what I mean? Going and all that kinda stuff.
And I remember Superman to coming out and we, and I remember me and my brother, cause we only lived like a half a mile away from the Redwood cinemas and Bremerton, Washington. And we walked down to the Plaza. And it was just a strip mall and it was just, you know, it’s a tiny theater now, right. There’s only like three or four screens in it and they’re all.
Not very good. but I love it. Right. I wouldn’t trade those memories, but I remember waiting to go see Superman too in the line going all the way out the theater down the brick wall to the rock wall in the back theater parking lot and all the way down to the pizza hut. And I know that means nothing to you, but it’s
Jeff Ford: no, it totally does.
I mean, I was in a, you know, I grew up in Troutdale, Oregon. Which is, you know, on the East side of Portland. And it’s basically the same thing. It’s like, you [00:05:00] had to get there at 6:00 AM to get a spot in line for the summer releases, if you wanted to see them on opening day. And it was like, you had to skip school that day to be in line.
You could not get an advanced ticket deal. that was not the way it worked back. Then.
Kenric: Those for me are so good for superhero movies that, yeah. when I watched the man of steel, I was upset. Not because I thought Henry Cavill was a great Superman. Don’t get me wrong. Yeah. But I was like, why you read that?
You basically recreated Superman too with the man of steel. You know.
Jeff Ford: Yeah. I think the thing that Superman did that Donner did, that was unique. And I think the Marvel cinematic universe does it really well. Is there somehow it’s connected to contemporary culture. In other words, it’s really kind of vibing on what we’re an anxious about and Donna did it.
In 78, because you were dealing with, you know, we’d just been through the sixties, he’s in the seventies, the country was kind of in a, it was in a new space, old ideas where we’re different. It seemed kind of like they were [00:06:00] receding. The fifties were kind of receding and Superman came in and said, look, I got here.
Here’s some ideas. Here’s some things that we think about. but morality and duty and honor, and, you know, moral choices and things that you do when you do the right thing. And those ideas were kind of like the, I think the country was looking for that stuff and looking to S to have a way to express that.
And I think Marvel, the Marvel movies were really a bit of an echo of the countries, you know, reaction to nine 11 and what happened to us. And we all felt kind of, there was this sense of fear and there was a sense of, you know, that they sort of super-villain plots. We’re now kind of coming to life.
And I think the way they dealt with it straight up, just look at Ironman one it’s so. Dealing with the echoes of what happened in nine 11. I really think they tapped into that contemporary cultural Zeit Geist in a way that in the same way, the Donner did not an accident. I think it’s about just being, you know, receptive to what’s going on around you.
Kenric: Yeah. Yeah. Yeah. I think that’s a good point. I like, when I think of the Marvel movies, the one thing I noticed, I don’t know, a lot [00:07:00] of people talk about, they can feel formulaic, but I’m like, I don’t know, man, from. director. There’s a definite different feel to what you’re watching.
Oh, for sure. You know, when you did, when you worked on the first Avenger, What was your guys’ feelings going into that movie? Cause that, because cap they’ve tried it captain America a couple of times, and I just felt like they always fell flat on their face. Like it’s just not to take any away from the people that worked on that stuff, because I don’t think anybody walks into it saying, I want to make a crappy captain American movie.
I think everybody tries their artists. Right. But it felt like that movie and Chris Evans really just, you guys capture the essence of it, who captain America was and made me, like, I was never a captain America fan. Like I was never into the comic books. I’ve read the comics. I was like, eh, he’s just so much of a boy scout.
Wasn’t really into it. That movie made me a fan. Well,
Jeff Ford: I have to give most of the credit to that, to Evans because he really thought deeply about that character and he knew how to express it. any, he worked really hard over the arc of that character over the years. [00:08:00] And I know he, it meant a lot to him to be somebody, you know, to having a fresh, but legit interpretation of it.
And Joe Johnston was also huge in setting the tone. And I think it was, you know, it was, the movie was a little bit more, you know, it was, it was a little more Winky and self referential, and almost, it was a little more comic booky when I started working on it, then it ended up being, I think, and then certainly cap’s arc with the Russo’s evolved into something that was very interesting.
You went from this guy who was sort of the straight up company, man. and then all of a sudden he becomes, you know, he becomes sort of, he switches to like counterculture and sort of a way when shield falls in winter soldier, and then by the end, he’s, you know, he’s gone rogue and he’s having to, he’s having to take the other side.
And I think that arc, that Chris plays, you know, of a guy who was a true believer that found out that, you know, maybe asking some questions about who you’re serving and how you represent that as a good thing, but maintains that moral center. That’s a really interesting arc. For a character.
And I think he did [00:09:00] beautifully over all those films. but I said first Avenger was interesting because it was, you know, it was, there was a little bit of a, we were, you know, we’re kind of going for a Raiders, lost art kind of vibe with it. but in the same way that Raiders is this sort of crazy movie, serial fantasy adventure movie, it still has this incredibly grounded, main character who has a real moral center.
And a lot of, you know, he’s really facing up against, you know, an existential threat. For the whole country with the Nazis. And so we want to cap to be in that same space that, you know, Harrison Ford was in. It’s just that you’re dealing with this kind of crazy, over the top fantasy adventure, but at your core, you’re dealing really with some basic relatable human, you know, questions.
Kenric: Ah, that makes a lot of sense. When you were working on those movies, did you harken back to some of your comic book reading days and feel like. How do I set this tone? Cause I know that I want to feel, I want to feel this when I’m seeing this, you know what I mean? You know what I’m saying?
Jeff Ford: Yes.
I think, I mean, one of the things that I. I probably was more, it was [00:10:00] more about remembering films than comic books only because the Marvel movies are so they’re highly yeah. Influenced by obviously the comic book, but they’re also incredibly influenced by the films of Lucas and Spielberg from the seventies and eighties.
And you know, that whole, basically, you know, everything that was released from like 77 to 83, you know, and we talk about those movies all day long there. And so, and we all grew up on them and. And I, it’s not so much about imitating them as it is appreciating how they were crafted to create these incredible.
You know, this incredible reality that rang true for so many people in the audience and how those directors like Spielberg and Lucas, but also like John Carpenter and, people like that really handled, you know, those characters, that were almost fantasy science fiction, comic book characters.
So I think I probably leaned more on my experience as a film. Unenthusiastic then than a comic book reader. Although I will say that the notion of comic books being a continuing evolving narrative, that would jump between titles [00:11:00] and go rangy for a whole year. And you’d have to read, you know, 12 issues is something to find out.
Like I remember flashed at a run. Well, of who killed Iris Allen. And it went on for like a year. And then at the end you found out, you know, that professor Xoom, spoiler killed her. And like, I remember reading that for a year going, Oh my God, who killed her? And, it was you know, like twin peaks or something where there was a mystery that got you through this narrative.
and for the Marvel movies, we did a lot of that technique, which is there’s this mystery it’s being slowly doled out over the course of all these movies. We kind of know where we’re going to go. And all of a sudden when you get there, the satisfaction is really intense. That was the. That was the storytelling technique that we borrowed from comic books.
I love it.
Kenric: I love it. So in one of your interviews that I did some research on and I think it was with, is it avian or avid? the Bo avid. Yeah. Avid. Yeah. And you talked about you’re on your you’re part of pre production as an editor. You’re a part of pre production script writing, being on visual effects, managing the sound crew, you know, and you really emphasize motion, picture sound.
[00:12:00] And I’m kind of hoping because I love movies. I mean, I absolutely love that’s my favorite medium of everything. You know, I never had the guts to get to jump in like, like obviously you did. And I don’t think I have the passion like you did when it came. Cause I, I wasn’t bringing out a super eight and trying to make films when I’m.
Eight nine years old, you know what I mean? Right. I’m appreciating them and I love reading scripts and all that kind of stuff. But when I’m able to get somebody like you on, I always like to see what is your day to day process and how do you feel about not feel, but how do you walk through a sequence?
Like I understand you have a macro sequence of events happening, and sometimes it’s easy to do to get down to the micro, but you can’t forget the macro and I’m kind of hoping you can. Kind of steer us through a day to day of Jeffrey Ford editing any movie.
Jeff Ford: Oh, well, I mean, it’s different depending on what stage of the process you’re in.
I mean, movies are basically, they get it nowadays. Modern films are made, in a little bit different way than they were originally made, but they can still pretty much be [00:13:00] broken down into three processes, which is pre production and post and pre production is your planning phase where you write the script, you do storyboards, you previsions, you lay it all out.
You just. You get the big picture laid out. So you know where you’re going and you have a map and you have a guide and you can, then you can break that thing down into little bite sized pieces, break it up, schedule it, figure out when you’re going to shoot stuff out of order.
Cause you know, the whole story ahead of time. And that preproduction process is critical once you, if you plan well, you can do great with a movie. And if you planning is really a huge part of a successful film and that includes casting, which is literally the most important thing. I mean, I think you can have a great script and it can suck if you don’t cast it right.
And you can have a shitty script and it. And get a cast in there that makes it saying, so casting, writing those things happen in pre production and then production takes place where you go out and you shoot the material that’s going to make up the movie. That process is crazy. You don’t have time to think you have so much to get through in each day.
And that’s when you’re dealing with the actors, you’re telling the story. With the acting and camera angles and cinematography, all of that. If you’ve planned it, right, production goes well. And [00:14:00] while we’re shooting, we’re editing at the same time, everybody always is surprised when I tell them that. But basically, you know, whatever we shoot on Monday, I look at it on Tuesday and edit on Wednesday.
So by the end of the day, Wednesday, whatever we shot on Monday was cut. Is that the
Kenric: digital aspect of everything? Now it is.
Jeff Ford: It is, but it’s also, it’s been that way for a long time. I mean, even film days when I started, we were working on film and it was still the same way. You maybe not, didn’t get it put together quite as quickly with as much Polish sound and picture, but you wanted to get that scene cut together, because if you still have that cast and you have a problem, you can go back out and get some more if you need it.
So cut, cutting along with cameras, they call it is really critical to make sure that you help the director kind of. Yeah. If they want to watch it, some directors don’t want to look at stuff during production, but most of them do. And so I cut right along with camera. Our team kind of works along with camera to get stuff cut.
We talked to them about what we think we need. We talk about it collaboratively and figure out what else we want to shoot. Sometimes the story doesn’t make sense. We ask for clarification, when you’re shooting on a as longer schedule, you can go back and knock some of that stuff out. If you have the cats.
You know, there’s easy ways to do it. [00:15:00] And then once the movie is shot, you’ve got an assembly, but the movie’s not really ready to look at it yet. Do you have an assembly? Usually that assembly is not that great. You watch it and go, Oh my God, what am I going to do? Because you haven’t engaged all the great storytelling techniques that you can add when you’re cutting it.
Kenric: Music and
Jeff Ford: sound. Yeah. Visual effects, all that stuff is still in rough form. So the movie evolves slowly over the course of, you know, for an Avengers movie, it takes about a year and maybe a year and three months for iron man three, it was less than a year. I mean, some of these movies, basically the Marvel movies take about a year, from production to post pre it takes place the year prior, but once you go into production, it’s about a year from the first day of shooting to the delivery.
Kenric: So that’s really interesting because I. when you hear preproduction post, you know, and all that stuff, it’s, it gets confusing for somebody who’s doesn’t know anything when they’re, when you’re reading an interview, when you’re reading, what’s going on in the movie and you want to know how, where are they at what’s right?
Because you get excited, especially these types of it’s movies that you’ve been working on lately that, you know, the fan [00:16:00] base is rabid. You don’t want me to get super excited. They want to know what’s going on. And it’s interesting to go through that amount of stuff. I totally want to geek out on you because I want to know how do you cut it from the camera taking the video to, it’s got to go up into some type of cloud that allows you to go to your workstation and pull that back down and then the half ready.
Jeff Ford: There’s no internet involved
Jeff Ford: on kids were, we’re always afraid of hacks. So everything’s pretty much done with. You know, drives and stuff. We’d actually, none of our systems are connected to the internet. We obviously transfer data sometimes, but it’s interesting cause it’s, this stuff is shot.
It’s shot, you know, say it, say we shoot on Monday, whatever’s done at the end of the day and I’m on. I can be on set. I can look at the video playback. Everybody’s looking at that. And then that goes that night, Monday night, it goes to a colorist who balances the color out. For the day sort of make sure everything’s technically set.
the sound gets added to the picture. It gets digitized into the avid overnight. Then my assistants break it down on Tuesday morning, split it up into scenes, organize it [00:17:00] for me, put it together in a way that I can get through the material quickly. And then Tuesday afternoon, I. I start watching what was shot on Monday and, and breaking it down and making decisions.
and that process just repeats itself every day, until we’re done. Now, remember sometimes we have on Avengers end game and infinity, where we had sometimes four units going on in any given day. So sometimes the stunt unit was shooting. There was a mocap unit shooting. There was a splinter unit shooting and main unit.
Jeff Ford: it’s crazy. It was not
Jeff Ford: Yeah. We have months of film to go through.
Kenric: You talked about motion, picture sound being probably just about the most important thing. And that editors need to really, especially new editors need to understand motion, picture sound, and that they shouldn’t be concentrating on it.
Why is that so important? And how does that affect a film?
Jeff Ford: Well, I mean, sound is really important because Mo everything is really about rhythm. It’s about music. It’s basically your, you know, the thing that keeps you hypnotized when you’re watching a movie, it’s the same thing that keeps you hypnotize when you’re dancing or listening to a piece of music and you lose yourself in it, it’s [00:18:00] rhythm.
And so if you can, and rhythm is visual, but it’s also. Obviously auditory has a huge impact and there’s a rhythm that interacts picture and sound interacts in a rhythm. And if you can learn to control that’s how you create those magical moments. And you can look at, you know, the Avengers movie is there’s, you know, everybody remembers the moment they stood up and cheered because that theme started playing, you know, that Alan Sylvestri theme.
And it’s because we’ve led you up to a point where you’re ready for it and you’re expecting it. And then when it breaks, you feel that. That cathartic moment that it comes out. It’s all about balancing that with rhythm and the lack of music. And then presenting the music. It’s either allowed sound effect in rhythm and a fight makes you feel the hit, all those things are, techniques that you can learn to manipulate it.
It’s just sound has it as unbelievable will impact. And I really, right now I’m mourning the loss of being able to go to the movies because of COVID because one of the things I love about movie theaters is an incredible sound experience that just overwhelms you and you feel so immersed. And when people talk about the excitement [00:19:00] of going to a movie.
A lot of times, it’s because, you know, when you’re watching something at home, you know, the dog’s barking in your face and do dishes and somebody, you know, you can’t focus and you can’t go into that dream world of being in a movie. And that’s why I love sounded. It allows me to immerse myself in the picture and, you know, remember to the actors acting will most of their performance, you know, obviously they do incredible visual performances, but those lines of dialogue and that th the nuance and the things that they say that all comes through the soundtrack.
Kenric: Yeah. It’s, you know, it’s funny. Cause you’re talking about the, when the crowd, like you go to the theater and you hear the crowd actually literally cheer in the theater and I saw it. Right. Yeah. And the first time was opening. Yeah. Right. Because you had to see it and it was , there’s two scenes that really got everybody and they’re all, and they’re almost back to back.
And the ones that were the whole place erupted is when captain America picks up. Oh, yeah, here, everybody freaks out. And then when you hear a Falcon say on your left, everybody freaked [00:20:00] out. Yeah. And I remember on the third time I saw it, you could tell the whole crowded already seen it, but you could feel the buildup for that scene.
And everybody freaked out even more. The time when I saw it, when I know everybody in the theater had already seen it in the theater, and I think it comes from like what you were just saying.
Jeff Ford: It is. And I mean, you know, that sequence took a long time to tune to get it just right. And we tested it and tried it out and got different ways and different reactions.
And it was very delicate and ended up coming together because of Alan’s incredible cue, but also the way. That we balanced it out before that. And I remember we went to see that movie in LA the night it opened, and it was Kevin FYGI and the Russo brothers and the Markus and McFeely, the writers and Trinh Tran, our producer and me and a bunch of other people on a, you know, we all went down to Westwood in LA and we went to the, we had a little, you know, a few seats carved out semester.
There’s two, actually. And we were in the back of the theater and it was, you know, it was near UCLA and it was like a good crowd on the opening night. And that. That there was [00:21:00] no roof on that theater man. They were going nuts at every single hit. And I was like, and we all walked out of there going, okay.
There is never going to be anything like this in our lives. That the feeling of being so connected with those people was so awesome. And we felt so proud of being able to give them that experience because you know, this is the thing, you know, it was funny cause, People say what you know are superhero movies, cinema.
And I say, what? So cinema is really at its core or about going to the movies together and having that communal experience and that emotional connection. and, you know, you can, some people hate them. Some people love them. It’s all good. Everybody can have their opinion. And I get as excited as the next guy, seeing a drama.
I mean, I love movies in general, but the communal experience, the idea of being an audience that’s, that’s a, when you’re an audience member, that’s a unique. Job you have, and your job is to be with your people and you experienced something together that nobody else is in that room with you guys that like, that’s the moment.
And that’s why I love movies. And I really hope people remember when they can go. They can go [00:22:00] again. that’s out there for them. Cause it’s not the same watching at home or on your phone. It isn’t.
Kenric: No, it’s not at all. I love going. I love the experience going in the movie. I’ve. Always been, let’s go to the movies, like what’s going on, let’s go to the movies.
Right. I remember watching arachnophobia and the movie. Oh yeah. I saw it. And that was a big seller. So that opening night, and I remember everybody, like everybody from my school was there and the girls jump and it was just like, Oh my God, I love this. You know, I fell in love though, seeing man too. And I remember me and my brother went, saw E T and then we snuck across and snuck into a clash of the Titans.
Right. Our mom was super religious and she didn’t want us to see clash of the Titans.
Jeff Ford: Oh, right. that had some, some Menotti parts.
Kenric: Yeah. Had some naughty parts in it and she just, but it was a lot of fun. Let me tell ya.
Jeff Ford: I liked that movie
Kenric: when you’re a, yeah. I love the old movies, man. I just got done.
So we’re having, Kelly Johnson on. And he’s a big, artist, right? And he’s done, he’s kind of [00:23:00] done the definitive Batman in the nineties. Where is art? Art is artists ability is ridiculous. And, but he loves doing horror. And in the eighties, in the late eighties, he won an Eisner award for his run on dead man.
And. So I was w so I had them on, we were talking to him and I started talking. we ended up chatting for like three hours. Cause we just went off and I was like, Hey, when you want to come back on and we’ll talk about horror movies. And we’re talking about the classic horror movies though, the universal horror movies.
So the last couple of weeks I’ve been, I’ve watched Dracula daughter of Dracula, Frankenstein, bride of Frankenstein, ghost of Frankenstein and the Wolf man so far. And then I still have the black lagoon and I love those old movies. The Frankenstein ones are stupid.
Jeff Ford: They’re amazing. The James whale ones.
Yeah. They’re incredible. and God, it’s, they’re amazing. And I’ve shown my kids those too. And it’s like, they’re so good. They have such great tone.
[00:24:00] Kenric: The Frankenstein ones. Yeah. Specifically those first two are so good. And I laughed so hard because in bright, a Frankenstein is such in our culture in society and in our psyche as a whole.
I thought I saw it. Right. You know what I mean? Cause yeah. But I sure were watching them, like I’ve never seen this. I’ve never actually sat and watched this.
Jeff Ford: The 1933 King Kong is pretty awesome too. Actually, that’s a really great one too. That’s like really influential to a lot of pictures.
Kenric: Oh, it’s so good.
But. The fact that the bride is only in it for like the last five minutes of the movie, you know, but it’s so good. But I was laughing because all I could think of is wa watching it was young Frankenstein by Millbrook’s. Sure. And how much of young Frankenstein, how much of that movie actually had the stuff from Frank Wells?
Right? I was like, like the sheriff, I didn’t know. That was an actual character from. The Frankenstein movies
Jeff Ford: it’s really meticulously recreated in that. It’s pretty amazing.
[00:25:00] Kenric: Is there any movies you’ve worked on that people really should know about that you feel like? Well, it didn’t get the play it should’ve got it.
Jeff Ford: well, I mean, I, you know, they’re all like, you know, I feel really proud of a lot of the work that I’ve done. I’ve got been very lucky to work with Rick great filmmakers. I mean, you know, th the movie I did with James Gray called the yards, the Mark Walberg and Joaquin Phoenix, and Charlie steren was, we made that in 98, 99, 2000, it came out.
It was a really incredible movie, shot by Harrison Avitas is one of the great cinematographers, no longer with us, but that movie, I think is one I’m extremely proud of. And I, I also, and I don’t think a lot of well saw it, you know, it didn’t get much of a release. Right. And, the other one that, and kind of popped back up again recently, and I watched a little bit of it.
It was cause of making them around on Netflix is his public enemies, that movie I did with Michael Mann. And yeah, I really, I think that movie also got a little, but have a short shrift, if there’s some really amazing filmmaking in that movie that Michael did. and that was really an exciting project to work on.
I think there’s some amazing stuff in that movie. really beautiful camera work tonalities, but also some great [00:26:00] writing and some incredible performances in it by, by Deb and Marianne coach yard and bale. Who’s just crazy good in it
Kenric: feels good and everything. It’s kind
Jeff Ford: of good in everything.
Kenric: So what, so how much of the interaction with the actors do you have?
Jeff Ford: It depends. I mean, you know, I’ve done, I’ve known Nevins for a long time, because I did a movie called street Kings together with canneries before the Marvel world. but since I’ve been cutting all the cap movies and Avengers movies, I feel like I, you know, I know him pretty well.
and, when you’ve worked with people over the years, you kind of, you know that you get to know them a little bit. There’s, You know, some other actors you just don’t ever really get to interact with. Cause they’re just not that way. Or you don’t spend a lot of time. It really depends on the movie.
It depends on the director and the energy of it. So I’m
Kenric: curious on one hour photo, if you had a chance to interact with Robin Williams?
Jeff Ford: I did. Yeah, he was really great. He’s a huge, well, he was a huge comic book fan and really into anime and yeah. I remember, we went up to Vancouver to loop him for that movie.
And we spent a day with him doing his voiceover and stuff. And [00:27:00] we talked a lot about comic books and anime, and he, he’s a really, he was a really incredible person, just an amazing talent. and, you know, I mean, I, it was such a privilege to get to work with him. He invited us to his, he did the stand up concert at LA after we shot the movie and he invited a bunch of us to come backstage and then see the show of just amazing window in.
and to see a legend, you know, like that, build a performance. He’s an incredible actor. He was, it was just a great human being. It was really a privilege to work with him. And I loved working with Mark romantic too. He’s a, there’s an underrated director. If there ever was one, a few, if you haven’t seen his movies, I highly recommend you checking out.
not only when our photo, but he did a movie called, never let me go. And, he did, Few episodes of our, I think he did he supervised and directed one episode of this show called tales from the loop, which is on, Amazon now, which is beautiful series that he did.
Kenric: Oh yeah. I just remember when our photo came out and it was so counter of what you would expect from a Robin Williams movie.
Jeff Ford: Sure. Yeah. Yeah, no, he was making a change. [00:28:00] Yeah.
Kenric: Well, it kind of popped up cause he was so different in Goodwill hunting and so good in that dramatic role. And then he turns and does. A one hour photo. And I just remember people freaking out thinking, Oh my God, he did such a great job. And they wanted to see, or
Jeff Ford: yeah.
You know, he was an incredible comic. Everybody knew him, his Mork and all this stuff, but he was a classically trained actor. He went to Julliard, he was Christopher Reeve’s roommate at Juilliard. They were, they, you know, so he, you know, had the chops and, and really could do it when he needed to do it.
And he was an incredible performer. Well, that’s
Kenric: cool. Well, Jeffrey, thank you so much for coming on. I know that
Jeff Ford: I got so fun.
Kenric: Yeah, it was quick, right?
Jeff Ford: Yeah, let’s do it again. I would love to
Kenric: please. I’m like, I’m not kidding. I could literally talk to you for hours. if you would ever give me the chance.
Jeff Ford: might totally do another one. Let’s do it.
Kenric: Okay, cool. So, maybe we come up with a good subject matter because. I feel like we could go over the Marvel movies, but I feel like at some point you’re going to get sick of talking about Marvel movies with me. So I want to get into things. I mean, cause I can literally geek out on you with editing. [00:29:00]
we’re starting to get into video ourselves. And so of course we’re complete amateurs. We don’t know what the heck we’re doing. and I purchased final pro X and but I know that Ava is another good one. but I think that’s a little bit out of my price range, especially for what we’re doing.
We don’t, we’re not doing giant movies. Right. We’re we want to, yeah. We’re doing like a YouTube channel and we want to create some cheesy commercials, like, Like back in the eighties, there’s this guy named Jack Roberts up in Washington that had this furniture store and he would always a joke.
Yeah, wait. So we want to kind of mimic that kind of thing. And then we want to do, and our tagline is for the country and an oceans of podcasts. We are . So we want to do this cheesy, like morning show kind of thing. Did you ever watch
Jeff Ford: watch what
Jeff Ford: Oh, yeah. I love community. Yeah. The Russo’s show.
Kenric: Yeah. And there was, yeah, so they had this whole thing with Troy and Abbott, the characters where they would make their morning show and they’d be Troy and Abbott in the [00:30:00] morning. And I’m like, my God, I want to do that. So me and my buddy coast want to do something, not exactly that, but something similar where we’re doing, we have a fake interview thing set up, but in the background, every time we’re talking, I want.
Like, when we say certain words, I want an image of cathedral flashing through just the, you know, commercial thing. And then, so we’re trying to figure out how to break through. Cause we have all this, I mean, do we have all this amazing content, like spoiler verse? So we have a net, we started a network called dot com and we have like 14 different podcasts that all come to us.
And we have staff, writers are writing stuff out and we have, and we don’t charge anything cause we don’t know what the hell we’re doing. So we’re trying to figure out how to market, how to get everything out so that we can, you know, but we have all this amazing content and it’s like, how do we get the word out?
That people are some, you know, we’re getting good listens, don’t get me wrong. Right. But I feel like we should be getting a lot more. And so it’s like
Jeff Ford: 10th. Cool. I’d love to come back. So let
Kenric: me know. Let’s [00:31:00] do it. Oh man. Alright.