![flight of the conchords steve flight of the conchords steve](https://static.wixstatic.com/media/ac0241_28daf427840b4223bd3fbe9e60d7af72~mv2.jpg)
- FLIGHT OF THE CONCHORDS STEVE HOW TO
- FLIGHT OF THE CONCHORDS STEVE FULL
- FLIGHT OF THE CONCHORDS STEVE FREE
And you will have the big picture in terms of the art of storytelling. No matter how they turn out, you will be respected more as a fellow filmmaker when you are looking for editing work. What advice would you offer to someone interested in pursuing your line of work? Hope he doesn’t read this he would be uncomfortable being anyone’s mentor.
FLIGHT OF THE CONCHORDS STEVE HOW TO
Larry David has taught me volumes on how to make the funny. The Sopranos and Mad Men, they drink and smoke ‘cause I can’t. Monty Python, what’s funnier than the Minister of Funny Walks sketch? Local Hero, simple: Bill Forsyth is cool. I’m trying to kill all the ants on my property, but they are winning.ĭuck Soup, Groucho turned on a light in my brain, what a sarcastic douche bag!Ģ001: A Space Odyssey, Kubrick took it up a notch for all film fans. I spend a lot of time with my wife and two teenage boys. What are your outside activities, hobbies, passions? Jobwise, what do you hope to be doing five years from now? Cutting the music videos for Flight of the Conchords is right up there for a fun day at work. They were the loosest, most clever, natural comedians I’d worked with. One of my favorite gigs was Flight of the Conchords, second season. I was not the funniest guy in the room that day, but enjoyed being there. He came in the bay to screen a show with Larry. Mel Brooks appeared in several episodes of Curb one year. What was the most fun you’ve had at work? I was paid for the editing, but remain unpaid for the life coaching.
![flight of the conchords steve flight of the conchords steve](https://www.hollywoodnews.com/wp-content/uploads/2010/07/steve-carell-prphotos-600x302.jpg)
I became a new Hollywood hyphenate: shrink-editor.
![flight of the conchords steve flight of the conchords steve](https://static.stereogum.com/uploads/2017/07/ArXKiDV-1501272665-1778x1000.jpg)
I was just open and honest, and tried to calm the storm. The first question after I picked up the phone was, “Is he in there?” The second question was, “What did he do to my cut?” They called me directly to spy on the other. This battle came to a head in the edit room, and eventually I was cutting two versions, as they couldn’t stand being in the same edit bay at the same time. During the filming, there was a power struggle, and they started battling for control of the project. There was a powerful executive producer and an up-and-coming comedian-star attached. Once I was cutting a big-budget comedy pilot at Paramount. What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it? That’s an unusual amount of responsibility, but exactly what I was looking for when I started looking for work.
FLIGHT OF THE CONCHORDS STEVE FREE
Basically, I’m re-writing the jokes, and have free reign on my editor’s cut to take my best shot at what is funny. I must combine several improvised performances, all hand-held, and make it appear like a scripted, tight, single-camera show. The editors on Curb are given tons of footage, usually a 40:1 ratio. First of all, it’s consistently funny––thanks mostly to the brilliance of Larry David. My current gig, Curb Your Enthusiasm, has given me the most notoriety and satisfaction. Which of your credits or projects have made you the most proud and why? I’ve since had three nominations and won the Eddie in 2008 for Curb Your Enthusiasm. I also did Andy Richter Controls the Universe. Then I did a bunch of network shows like Spin City. The show was called The Parent ‘Hood, with Robert Townsend. My first union show was thanks to a recommendation by an editor named Jay Scherberth. My career has been baby steps and small breaks, accumulated over many years. There was no break-out milestone that made my career.
FLIGHT OF THE CONCHORDS STEVE FULL
After AFI, I returned to editing full time. A 30-minute film I wrote and directed did fairly well, and got me into AFI’s directing program in 1988. A friend got me a job as a dubber in a post house. I joined an improv comedy group in Boston when I was 26, quit retail and started to freelance as a cameraman while I continued to make short films. I attended Colgate University as an English major, then worked in retail for six years. I started editing comedy shorts when I was 17, shot on regular 8mm film. How did you become interested in this line of work? I’m a supervising editor and music supervisor