Oscar-nominated editors Myron Kerstein and Andrew Weisblum talk to Digital Trends about working with LinManuelMiranda on tick, tick...BOOM!
Myron Kerstein has been editing musicals on the big screen since 2003’s Camp and continued working in the genre by cutting 2009’s Fame remake, Glee: The 3D Concert Movie, and last year’s rousing adaptation of Lin-Manuel Miranda’s In the Heights. Andrew Weisblum is no stranger to musicals either, having worked on 2002’s Oscar-winning Chicago, but he’s also worked on editing several films by Darren Aronofsky and Wes Anderson .
Myron Kerstein: I got a call from Jon M. Chu saying, “I think Lin’s going to call you to work on this film.” Lin called and said, “Would you be interested in coming out to New York to work on this film?” He was a fan of the work that John and I did together on In the Heights. It was very flattering to get that call and go live with Lin for eight months working on his first feature as a director.Myron Kerstein: I was not. I knew Rent, of course, but I didn’t really know Jonathan Larson at all.
Andrew Weisblum: In successful musical numbers, each one has its own little story that it’s telling and they’re all kind of cut with that in mind. We make sure we are conveying whatever the number needs to be: An expositional, emotional, or character conversation. Whatever it is, it moves the film, story, and character forward and you’ve gained something from it. Once it’s done, that takes you to the next beat, just like any dramatic film. It’s never just a musical performance.
Let’s dig into some of the individual numbers. I want to talk about “Sunday” because it’s just sort of stops the whole movie in a good way. It’s quite literally the showstopper out of all the musical numbers in the movie. How did you tackle this number, which involved over a dozen Broadway legends, a location that doesn’t exist anymore, and complicated staging and VFX?
Myron Kerstein: The sequence was really working [when I came in to edit it], but Lin wanted more close-ups and more Broadway legends like Chita Rivera. Trying to squeeze everybody in that type of sequence is really difficult because you can get too “cutty” with that type of thing. We needed to figure out a way to build it up so that everyone, from Rivera to Bebe Neuwirth to the original Rent cast, gets their curtain call at the end.
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