In the third season of Netflix’s crime drama Ozark, editor Cindy Mollo had the opportunity to cut five episodes out of 10, finding one of her most fun creative challenges in explosive season opener…
had the opportunity to cut five episodes out of 10, finding one of her most fun creative challenges in explosive season opener, “Wartime.”centers on Marty and Wendy Byrde, a seemingly normal couple with two teenage kids who are forced to relocate to the Ozarks, after a money-laundering scheme goes awry. Finding themselves in increasing danger while working for a Mexican drug cartel, the pair end up funneling cash through a riverboat casino, while contending with scrutiny from the FBI.
In the final cut of the episode, this carnage would be followed by a cheesy, star-wiping commercial for the Byrdes’ Missouri Belle riverboat casino, and shots overlooking Wendy’s laptop, in which she sees graphic images from the Mexican crime scene. “We are telling the audience, ‘This is the pond they are swimming in now. This is the world they find themselves in,’” Mollo says.
From the editor’s perspective, what makes sequences like these work so well—and what makes them so fun to work with—is the extent to which director, executive producer and star Bateman plots out his work. “He always has a plan. It’s pretty quickly put together, and then it’s the fine-tuning of things like, how long are we in black, hearing the ticking, before the bomb goes off? How long do we really need to be with those [money launderer] guys before we get him out the door?” she says.
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