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Today on the show we have film editor Lawrence Jordan. Lawrence is a veteran feature film and television editor who has worked with many of the top creatives at the world’s largest entertainment companies, including Time Warner, Sony, Fox, MGM, HBO, Netflix, and Disney. He has supervised creative aspects of the post-production process on over 45 feature films and television shows with budgets ranging from 1 million to upwards of 80 million dollars. He recently completed his latest feature film, “Naked” starring Marlon Wayans and Regina Hall for Netflix.
With a passion for technology, Lawrence was fortunate to have the opportunity to be one of the earliest adopters of digital, non-linear, editing workflows. Along the way, he became an adjunct professor at the American Film Institute’s Center for Advanced Studies, and created and taught courses on non-linear editing at UCLA. He has also been a consultant and speaker for companies such as Apple, Adobe, and Avid Technology. Jordan has also written articles for periodicals including American Cinematographer, Editors Guild Magazine, DV, and MacWorld.
Jordan also created 2-pop.com, an Internet community dedicated to providing information about Apple’s revolutionary new post-production software, Final Cut Pro. 2-pop quickly became the premier web destination for the rapidly growing digital video marketplace and was a catalyst for FCP user group communities worldwide. It was later acquired by Creative Planet.
We jump into the “editing” weeds and discuss the craft, the business and the politics of being a Hollywood editor. Enjoy my conversation with Lawrence Jordan ACE.
Alex Ferrari 0:04
Now today on the show. We have Lawrence Jordan, who is a film editor with over three decades of experience and has worked on some amazing films like fallen with Denzel Washington. One of my favorite films from the 90s assassins Deuce bigalow, male gigolo, CSI Miami as well as a new Netflix film, naked starring Marlon Wayans, Lawrence and I sit down and really dig into the craft of editing. Well, how he started in his career, how he works with directors, some unique stories from the Edit room, and just talk shop. So without any further ado, here is my conversation with Lawrence Jordan. I'd like and welcome to the show, Lawrence Jordan. Thank you, man so much for being on the show.
Lawrence Jordan 2:39
My pleasure, Alex, great to be here.
Alex Ferrari 2:41
I've had only a couple editors on but I've never had an editor with your street cred on before. So I'm really excited to to kind of dig in to to your career and and do your techniques as well.
Lawrence Jordan 2:54
Oh, well. Thank you. I'm flattered. Yeah, you you got to get some more editors where, you know, that's where all the actions happen.
Alex Ferrari 3:00
Well, listen, my audience the tribe is definitely heard enough about post. I mean, one of my most successful podcasts ever is post production workflow, understand it or die. Good title, man. Yeah, absolutely. That was my story. That'd be right. If he just did just don't get post production workflow, and it will kill you. And nowadays, I mean, back in the day when you know, when you were when when I was starting out, it was avid and that was pretty much it. I mean, there's now we're gonna get a little geeky guys, and there was media 100 there was the video cube. Oh, yeah, you want to go even farther back the montage which is what I first learned on Wow, oh, yeah.
Lawrence Jordan 3:39
That that's you are, you know, well, you know, I was gonna I was gonna say, you're a much younger man than I because I started on 35 millimeter film. So I
Alex Ferrari 3:48
I when I went to I went I went I went to college, he taught me on the montage, which was just working on Windows 311.
Lawrence Jordan 3:54
That is amazing, man. Because, you know, actually, the first avid show that I ever did was, we started out on the montage, the editor that I was working with a guy named Steve Cohen, who's a terrific editor, and very into technology, you know, kind of turned me on to the montage picture processor, the digital version, you know, because they had like a beta cam version,
Alex Ferrari 4:16
Right! This is Yeah, this is the whole digital Yeah, with that with eight with eight gigs being like the size of a refrigerator and start with me, I mean, stories about about about storage, and then you get in you put the floppy in. Yeah. And then you take it over to the CMS 3600 and it would never work. Cluj to say, exactly, but when I actually when they actually took me to cut film, in college, they taught nonlinear editing first, then everything was online, nonlinear and then film while I went to film I was like, This is barbaric. Is this you? You cut with a razor blade and if you like it, you put tape on it. What are we the Flintstones? This is just crazy talk. And we all did I did the same, the same bit from was it Gunsmoke?
Lawrence Jordan 5:05
Oh, yeah, of course, the training material, everyone the Hollywood of a certain age cut, learned on Gunsmoke.
Alex Ferrari 5:13
You work and you count on that guys. And I was just I was literally baffled, like I'm holding, I'm like, and you hold the tapes, and you put them in this bin, like, it just blew my mind. It really did. But, but it's something that I think if anyone ever gets a chance out there, if you're listening gets a chance to actually edit a small little bit on film. It is a wonderful text, like the feeling the smell, it is wonderful. But on a practical standpoint, because of the speed that we cut today. It's just such a, it's just different.
Lawrence Jordan 5:40
Yeah, it was a different it was a different rhythm and a different process. But like you say, you know, a lot of fun memories of that method. But, you know, after I had been cutting for a while, on the avid, I was trying to do something on this product called radius edit, which I was helping. I remember that one. Yeah. And I was trying to do a feature on it, and it just just wasn't ready for primetime. So I told the guys who I kind of sold the whole idea to, like, you know, this isn't working, you know, we got to go in is all well, okay, well, let's just do it on film. And so I went back to film after having cut on the avid for like, you know, five years, and I was like, This ain't gonna work. I'm not gonna put myself through this. And finally, we ended up doing it on the avid. So everything worked out. Yeah, going back to film after digital, it's, it's, it's a different experience
Alex Ferrari 6:37
Without question. So So again, I apologize to the tribe. We just gone off on a tangent because this is going to happen when you get to editors in a room. This is we're going to start start talking geek, so please, bear with us, but there'll be some good stuff, I promise. So. So how did you get into the business in the first place, Larry?
Lawrence Jordan 6:54
Well, you know, I was lucky. I was born into a filmmaking family or as sort of like a technical film person family. My grandfather was a projectionist. Back in the day. He actually started when he was a kid crank in the Nickelodeon's in Times Square. Wow. Yeah. Yeah. And then he went on to be a sound and projection engineer at CBS News. Worked on 60 minutes with, with all the legends and Sure, yeah, so and then, you know, he, you know, he kind of got my dad into it. And my, my dad kind of looked around, and he said, you know, editing seems like a really interesting thing. And, and he became an editor and, you know, kind of got a job as a runner, you know, typical, and built this company back in New York, that was one of the first sort of like, high end post production companies for the commercial business. And, you know, he had all these huge accounts, like TWA and Clairol, and, you know, did a lot of famous commercials that I remember, as a kid, you're probably too young.
Alex Ferrari 7:52
I remember them. But But I do remember the pricing of those those post houses back in the day, like $1,000 an hour or something?
Lawrence Jordan 7:59
Oh, yeah, it was like the money was flowing back in it was sweet. He had he had a, like, 40 editors working for his time. And he was a real pioneer, you know, because, you know, my father had kind of like this technical side. Also, he's a very creative guy, but he was also an entrepreneur. And I mean, he created five companies out of out of that, you know, editing situation had 40 editors working for him. And so a lot of like, these big editors, that eventually that kind of transitioned into features, because with all due respect to commercials, they're very creative and stuff, but a lot of people certainly at that time, you know, they wanted to make movies, they wanted to make films, you know, also, so
Alex Ferrari 8:41
You're preaching to the choir. I started out in commercials as well, it's Yeah. I haven't watched a commercial in 20 years. You know, I you know, fast forward only fast forward.
Lawrence Jordan 8:51
Exactly. But DVR is my best friend. But, um, so a lot of these like guys who, you know, came out of my dad shop like Craig Mackay and Richie marks and Barry Malkin. I mean, those guys worked for, you know, written, you know, Richie worked for, you know, Jim Brooks and Francis koppla. So did you know, Barry and, and Craig did all of Jonathan Demi's films and things like that. So, you know, like these guys, you know, sort of, like, we're just part of my life and filmmaking was such a part of my life. So like, as soon as I had the opportunity, I just said, you know, that's what I want to do. I want to I want to make movies. And after a bopping around for a few years, you know, I was very young and I kind of like wanted a toy I was toying with cinematography for a while, but after a few years, you know, I just said, Hey, I'd really like to do this and I and I went to work went to work for my dad, you know, back as a as a runner, you know, as a driver schlepping dropping off cans of films at the studios and stuff like that. And, you know, and eventually just worked my way up, got into the union and got a job as an apprentice editor. And really, you know, it was a lot of starting at the bottom and I was an assistant in features on a 35 millimeter film for 10 years. Almost 10 years, about eight years, and I, you know, it was just, you know, it was tough coming up and it was slow. It's not like it is today can be much quicker, but it was great training ground, and you really got to work and see the process. And, you know, that was, you know, the best education I could have had, I believe, to become, to become a film editor,
Alex Ferrari 10:22
I feel I feel that a lot of the new generation coming up, they will never be able to get that they're never going to be able to get that 10 years of just grinding and watching and really honing the craft. Which I mean, I did I did that myself coming up. And it was, I loved it. I mean, yes, would have loved to have it faster. Yes. And then that world that worlds gone. It's Yes, not the same anymore. But it is, there's something to be said with the apprenticeship, there's something to be said to be, you know, to do it old school and take your time, because you really understand the process of whatever you're, you're doing.
Lawrence Jordan 11:01
I mean, you know, when, when you're when you're working on a cut, and you're looking at a scene that an editor has put together, you know, like in a first cut, and you know, it's, especially back on film, you could stop and talk about it and ask questions.
Alex Ferrari 11:16
Every cut was a discussion.
Lawrence Jordan 11:17
Yeah, exactly. And, you know, you could kind of get real insight, you know, about, like, where they were coming from with it. And then of course, with the assembly, and then starting to see changes. I mean, there was, you know, I think that with digital technology, as wonderful as it is, and I love it, you know, we're siloed to a certain extent, you know, the the assistant is in his or her room, and they're really kind of focused on managing all the data, and, you know, and so forth. And the editor is also kind of like cloistered in there, you know, doing their cut during production. And then of course, when the director comes in, they're huddled in there. And there's not that kind of like, you know, that that period of time where, you know, it used to take a while to make a splice and tape the splice. And, you know, the, the director would be on the phone for, you know, 10 minutes, because it took time to just do the Edit now, like, the director never has time to go on the phone, and actually have to take a break, and then they go outside and talk on their cell phone. But yeah, it's it's sort of a, it's a different rhythm. But having said that, Alex, I encourage, you know, I come from that world. And I and I really believe in handing down the craft to my insistence because I believe that's how it's, you know, best sort of passed on. And I, you know, I love giving an assistant, a scene to cut and seeing what they can do. I know that that's, you know, for the most part, if they show any inclination that they want to cut themselves and not be a lifetime assistant, which some people do, and that's fine also. But you know, most people want to be editors, and you know, you give them a scene, and then it's an education for me, because you get to see what they bring to the material. And so I encourage it, and I try to give my assistance as much as possible, you know, within reason. And then of course, you know, there's these other elements in digital that assistance get to use a lot of their creative, you know, abilities. Like for example, when I'm in when I'm doing my first cut, a lot of times, I'll just turn my, my, my cut over to my assistant, and I'll say, Hey, could you lay some sound into this, you know, give me some sort of foundation, just to fill it out? You know, because there's such a high expectation when you show the first cut, you know, that you're that you're showing the complete cut. It's not like the old days, where you used to show a first cut with no sound on film, you know, right. I mean, the the dialogue, but not a lot else. I mean, it just couldn't do it, you know, the cams could only play two tracks and even you know, the two headed move viola, which would play two tracks, but now it's like, you know, guys are cutting in 7.1 and 5.1. And these mixes are completely filled out. So the assistant really, you know, in, in my situation, you know, can flex their creative muscles and sort of get their feet wet just with sound. And that's a great foundation for cutting because, you know, sound is 50% of the deal. I think a lot of people you know, sort of ascribe to that, and I'm certainly one of them.
Alex Ferrari 14:17
Now, you you started off as a sound editor, right?
Lawrence Jordan 14:20
No, no, well, yes, actually, I wasn't a sound editor. But some of my earliest stuff was I was an apprentice in sound I was lucky enough to work for under DT Allen on a on a feature that she was doing. And
Alex Ferrari 14:34
Did you did you work on Back to the Future?
Lawrence Jordan 14:36
I did. I was Chuck Campbell's assistant editor on on back of the future and a bunch of other films.
Alex Ferrari 14:42
Now when you work it back to the future. Did you even feed it? What did you How was that? Um, it was just another gig. Did you sit? Did you sense anything that this was gonna be a special movie? I'm a huge batch of future fan. I'm just asking.
Lawrence Jordan 14:54
No, go ahead. I mean, it was an exciting place to work. It was a company called real sound and Charles Campbell. Who was, you know, like a legend? Was was the owner with with a couple of other guys, Lou Adelman and Rick Franklin, I think at the time anyway, Chuck had what Chuck essentially was Steven Spielberg's sound guy at the time, he had cut this won an Academy Award for 80. And, you know, he was sort of, like, top of the, you know, top of the, yeah, top of the food chain in, in, in sound editorial, and I was lucky enough to get get a gig for him. I just like taking a break and gone traveling in Europe for four months. And I had come back and I was just looking for a gig, you know, cuz I needed money. And I met with these guys. And they hired me to like, you know, the stuff that I had done in picture. And, yeah, it was a thrill to, you know, when Chuck came to me and said, we're going to do Back to the Future for Bob Zemeckis and amblin. And, you know, from the first time we saw the film, which was over at the amblin, screening room at Universal, it was a black and white copy of the movie. There were no visual effects in it. And, um, but we watched the movie, and we just all knew, wow, this was going to be something that people are just gonna, like, lose their shit over because it was just, it was a great movie. You know, it was just, it was a blast.
Alex Ferrari 16:18
Did you did you? Well, you did. I'm assuming you worked on the first part when they shot everything with Eric Stoltz.
Lawrence Jordan 16:25
By then, all right. No, by the time we came on, that had all been reshot.
Alex Ferrari 16:29
Okay, so you came on with Michael J.
Lawrence Jordan 16:31
Yeah, we didn't we didn't really even see any of this stuff with with Eric. Yeah, it was all Michael J. Fox. And you know, and he, he was just so good.
Alex Ferrari 16:40
Oh, my God. It's performance is legendary.
Lawrence Jordan 16:44
Yeah. Yeah. So we were really excited. And you know, it was a pretty, it was a pretty fast schedule. I remember, we actually, you know, once we had completed all the cutting, we were mixing on two stages and 12 hour shifts.
Alex Ferrari 16:57
Yeah, because they lost like six weeks of shooting that they had to go back on.
Lawrence Jordan 17:02
Exactly, exactly. So, so we were mixing on, you know, from like, you know, from nine to you know, whatever, to 12. And then from 12 to nine,
Alex Ferrari 17:11
It was 24 hour shifts.
Lawrence Jordan 17:13
Yeah, it was crazy. Yeah, I just remembered the screening for the previous screening and the wrap party and, and then the weekend it came out, man, it was, it was as good as it gets in the movie business. And I was just the assistant sound editor, you know, right. But then Chuck went ahead and he actually him and Bob Rutledge, the guy who worked with him won the Academy Award for that movie for sound
Alex Ferrari 17:35
As they should, that's an amazing, it was amazing job they did. Now, how did you jump from Sound Editing to I'm assuming assistant editing and then you jumped into feature editing?
Lawrence Jordan 17:45
Well, you know, I always wanted to be a picture editor. You know, I kind of you know, I have, like I told you my background is with people who were picture editors. And, um, you know, so So after I had done a bunch of sound assisting, I kinda like was looking around and I just started cold calling. That's what you know, you did. That's what I did in the old days. And, you know, I would look through through the, through the Hollywood Reporter used to list things on Tuesdays of like films that are starting now of course you can do
Alex Ferrari 18:15
You mean, you mean on the internet? Right? No. joking. paper on Tuesdays, it would come out films in films in the future. Yeah, I remember that. I remember that. Yeah. So you look for jobs.
Lawrence Jordan 18:26
Yeah. And I and I, and I was able to track down another legendary editor who I got very lucky with. Lindsay clingman. And she was starting a film called baby boom with Diane Keaton. Oh,
Alex Ferrari 18:41
Yeah, that's 85
Lawrence Jordan 18:43
Yeah. 80 Yeah. 86. Yes. And Charles Shire and Nancy Meyers. Were making that film. Chuck was directing it and Nancy and him wrote it and produced it. And Lynne, you know, she invited me over to her house and we had a conversation and we talked about filmmaking and my background and her background, and we hit it off. She, you know, she liked me and, and I got the job as a first assistant on that picture. And I just, you know, really, like was over the moon. I was so thrilled to be on what at that time was, you know, I thought it was a pretty, no good prestigious picture. I mean, it's certainly not
Alex Ferrari 19:21
Studio film. It was a studio from it was a big hit, too.
Lawrence Jordan 19:24
It was it was a really nice film. Sam Shepard was in it. And, and it was a lot of fun. And you know what, back in those days, I can't remember how long it was Alex, but we had over 100 days of shooting I think something I mean, it was for MGM UA at that time. Yeah.
You know, it was just a different environment for filmmakers and and budgets, and they weren't making that many films. And you know, and Charles and Nancy had done private Benjamin. So they
Alex Ferrari 19:56
Huge hit, that was another issue. So they had a certain amount of clout. We're looking at budgets back then. So people understand who's listening. I mean, the budget for baby boomers must have been like 10 million bucks. 12 million bucks. Yeah. If it was 15 I would be surprised. Right? It was it was not like, that's when studios were doing movies like that. Yeah, they would get 20 of those a year as opposed to just three $200 million movies a year now.
Lawrence Jordan 20:19
Exactly. Yeah, it was a different world. And they were, you know, there was a different market. And, and it was a blast, you know, the film was was just awesome to work on Charles and ancy. were, you know, there's such creative and there were a lot of fun. You know, in their own kind of crazy writer, director, producer ways. And, you know, I was young and I had a lot of energy. So I could work, you know, 1415 hours a day, and it wasn't a problem.
Alex Ferrari 20:47
Remember those days? Yeah.
Lawrence Jordan 20:48
Yeah. And again, that was a great experience. And then I went to do another film with with Lindsey little man Tate.
Alex Ferrari 20:57
That was a Jodie Foster his first directorial. Exactly. And, and, and the reason I know all this stuff is because this is the this is the sweet spot of the time, I worked at a video store. So I worked. I worked in a video store from 80. From 87. to like, 90 to 93. Yeah, so anything in that time period, I'm gonna know a lot of
Lawrence Jordan 21:19
Like, prime of my career, man, this is fantastic. Yeah, you know, so we did we did that together. And, and let me ask you something, you know, working with Jody was just no,
Alex Ferrari 21:32
I can imagine. I mean, that was her first. That was it was a great little movie. I remember watching it and and she's a great director. I think she doesn't get enough credit for it. But she is a really good director.
Lawrence Jordan 21:42
Yeah, she she actually directed a bunch of episodes, or at least a few of House of Cards, which, you know, I thought was, was kind of cool. And, you know, obviously, she's gone on to do a bunch of really interesting work. So
Alex Ferrari 21:52
She's, she's amazing. She's an amazing artist in general. Now, how do you how do you start editing a feature film? What is your process? When you, you literally first day, you've got all the raw footage, it's all been organized for you? How do you start? What's your process of tackling the story tackling the project?
Lawrence Jordan 22:12
Well, after I get over my initial anxiety attack,
Alex Ferrari 22:16
It is a daunting mountain you have to climb.
Lawrence Jordan 22:19
You know that that's, you know, something that I was lucky to get from my dad, I was just like, oh my god, how do you cut an entire film? You know, and it's like that old thing? How do you eat an elephant? You know, it's one bite at a time. And that, that, that, you know, if I could pass anything on to young editors, that's really sort of like the fundamental truth. It's one cut at a time once at a time. And I'm, you know, and I'm sort of a nonlinear thinker. I'm an audio visual learner, I was never a great student in school. You know, if anything English and you know, literature, were my strengths.
Alex Ferrari 22:57
Yep. Guys, like, yeah, we're both in the same boat,
Lawrence Jordan 23:00
Let's say pod. Not real strong in math, unfortunately. You know, so, yeah, my mind works in a very nonlinear way. And that's why when I saw the avid, I kind of like, knew this was going to be my future. And, you know, a lot of times, what I'll do is I'll just start looking at the material. And I'll just start pulling stuff that looks good to me, that if it's comedy, I post stuff that makes me laugh. If it's, you know, drama, I'll I'll try to, you know, pull stuff that moves me. But I'll just start pulling, selects,
Alex Ferrari 23:33
But you don't, but you don't go in order.
Lawrence Jordan 23:35
Some Yeah. I mean, this is something that I learned from Lindsay, you know, because, you know, she would like just start in the middle of a scene, she would say, Oh, you know, that that line is great. That's a great performance, that's a great reading. And she would just start cutting there. And I was just like, Wow, that's so cool. You don't even have to start at the beginning, you know, you can just you can start at the end. So yeah, I'll just start pulling stuff. And then you know, it's, it's that puzzle, it's like taking that select reel and organizing it into some sort of, you know, fashion. And then, you know, during the process, I might go through and start cutting intercutting dialogue, you know, not just pulling, you know, it'll be so my first sort of select reel, you know, to describe it best would be just sort of like this big mishmash of stuff that I liked. And then I go and I read through it, and I wait it out, and I try to make things work because invariably, you'll be pulling things that won't necessarily work together and there will be a part of a reading that you'll want to replace because it wasn't so great, but everything else was great from that reading. So, um, you know, it's, it's this incredibly, you know, just talking about it with you really gives me a sort of a sense of, you know, joy and fulfillment because that's really the fulfilling part of it. I would imagine it's something like when a sculptor is sculpting something out of a piece of marble You're just finding this, you know, beautiful object in there, or, you know, making it as beautiful as you can, you know, sculptor has a little bit more latitude. I mean, we are given a palette to work off of from the director, but, you know, it's finding those gems and, and sort of shaping them. And then of course, you get into the sort of, like the fine tuning and the tightening, and what I call trying to sing, you know, trying to make it really fly and make it a real scene. And that process is, is, you know, that's kind of like my process on every scene in the movie. And then, you know, you just go and assemble all those scenes. And then for you know, you got a movie,
Alex Ferrari 25:40
You know, it's it's funny that it's true, what they say the movie is written three times, in script form, in production, and in post, absolutely, every, those are different versions. And, you know, editing as long as I have as well as you I'm sure is that you know, you do find the movie, the movie kind of pops itself out at you, when you're when you're editing because, sure you have the script. Sure you have you know, scenes. But that's, that's very broad, you got to go in there and start chiseling out those little moments those little looks, that right timing, that's not on the paper. That's what the editor brings.
Lawrence Jordan 26:18
Right? Well, and that's also what the director and the actors bring, you know, of course, but but their cinematographer. But but like you're saying, you you're reading the script, and a lot of times as an editor, you'll look at the line script to see what kind of coverage you've got. And, you know, you'll read through the script before you start cutting it, I do at least you know, I look at the scene, what support what was the intention here, and quite often, you'll look at the film, and you'll go, Whoa, holy shit, you know, this is totally different, you know what I mean? And that's just, that's just the process, you know, so much happens on set, you know, improv and spontaneity and director brings new ideas. And, you know, quite often it's, it's much different than what's on the page. And, you know, that's another one of the exciting parts about the whole thing.
Alex Ferrari 27:08
I was watching the Ron Howard masterclass the other day, and the way he should, he's, he's an absolute technician. I mean, there's just as far as craft is concerned, you watch him actually direct scenes for like, two hours. Nice. It's amazing. But what I was fascinated with in regards to editing is that he is giving the editor, everything he or she needs to cut the scene and have so many options. And in order to do and that's what I think a professional director does, yeah, it just gives you those options, because you just never know, what's going to work and what's not going to work and a lot of times,
Lawrence Jordan 27:46
Yeah, I mean, when you work with a director of that, you know, that level of craftsmanship, you, you know, it's a joy, because they know all the pieces and you know, you hear about people talk about, you know, like, they see the film in their head, you know, as they're shooting it, they're seeing it play in their head, they're seeing all the cutaways and things like that. And then when you get that, you know, as an editor, because when you read the script, quite often, you'll sort of see it in your head also. And when you get that material, you're just like, Ah, thank God, you know. And, yeah, you know, it's interesting that you say that, you know, he sort of very technically oriented, you know, all of our crafts have so much of a technical aspect to them, it is a craft of technology, I mean, think about, you know, the earliest movies, they were these machines, and you need to know how those machines work and how to utilize them and how to how to harness the power of them. And that goes from everything from from, you know, now, I mean, even pre realization and 3d and stuff like that, to editing and, you know, some people poopoo the technical aspects of editing, and, you know, that's a shame. And, you know, you're really, like, some people have said that the art is derived from the craft, and, you know, you need to know how to use your tools to to, you know, really have have power over them.
Alex Ferrari 29:10
No, no, no question at all. Now, can you do me Do me a favor? And can you explain to the, to the tribe, what's an assemble cut? versus a locked cut?
Lawrence Jordan 29:20
Oh, wow. Well, you know, that's, that's a long journey. You know, I've worked on films where the first cut was five and a half hours long. So that wouldn't be the assemble cut, that would be the first assembly or the director's cut. And, you know, not to seem touchy or anything like that, because I really don't, you know, I'm not hung up about this. But, you know, it's really not an assembly I mean, maybe back in the old days of film, it was an assembly when they used to use paper clips to put it together and then they would have to be heights hotspots, I mean, with the with the with digital tools with the avid, you know, or really any any nonlinear editor. You can really refine your cut in the assembly, however, you're still assembling everything they shot. And sometimes, you know, you'll have 150 page script not as much anymore, but you know, you'll have 120 page script that will just run much longer than, you know, anticipated. And, you know, especially with the kind of things that I've been doing most recently, improv comedy, you know, you'll have improv that will just sort of like, go off the rails and just, you know, extend the cut. So, you know, improvise scenes, alternate scenes, things like that. Now, you have to show the director, everything they shot, at least I believe that you will show the director everything they shot, when you present your your first cut. So the journey is taking that first cut from what could be anywhere from, you know, two and a half to five and a half hours or longer, and bringing it down to whatever the, you know, appropriate running length of the film will, you know, ultimately be and you know, a lot of times the rule in comedy is, you know, comedy shouldn't be longer than 90 minutes. It's not always the case, but a lot of you know, I've worked for directors, you know, I'm not releasing this film for, you know, any longer than 90 minutes and like, a will our first cut is three hours, what are we going to cut
Alex Ferrari 31:25
Out of jokes ago, and
Lawrence Jordan 31:27
Yeah, exactly. And, and a lot of crap will go, you know, that just thought was funny, maybe and, you know, was funny in dailies, but you know, just isn't working isn't working in terms of the story. So it's, it's that process of of taking the film from its original, you know, assembly and, and bringing it down to the final length, the tested length, usually you will have several previews. And sometimes they'll be in a theater with random people. And other times, it'll just be, you know, friends and family, you know, 10 people in a room. And it's that process of refining. And obviously, now with visual effects, it's, you know, creating and finally, the visual effects, music music with the composer, and, of course, all the, you know, the the source cues now, and, of course, sound effects and building out a, you know, an awesome sound soundtrack. So that's kind of like, you know, where you start. And that's why they give directors 10 weeks as per the Directors Guild contract to put together their cut. And then of course, the producers come in, and they pitch their notes and give us their ideas. And then of course, the studio
Alex Ferrari 32:35
Executives, of course,
Lawrence Jordan 32:36
Yeah. And they pitch their notes and give us their ideas. And, and so it's this, you know, it's this journey from, you know, camera to, to now it's called a DCP. That the digital release
Alex Ferrari 32:50
Digital cinema package.
Lawrence Jordan 32:51
Yeah, exactly what you see in the theaters. So, you know, it's, it's like being part of a traveling circus, what can I tell you?
Alex Ferrari 32:59
Now, this is something I always love asking editors, because it's something that we've all have to deal with in a room with clients. Are there any tricks to handling creative differences between directors, producers, executives in the suite? While you're there, because I've had I've had produced I've had actual clients, throw fists in my room with each other. And I'm, and you're just the editor, you're just sitting there, like, I just and you're, you're trying to appease both masters. So you're basically Switzerland, you're like, you know, like Alex shown that cut, and I show him the cut. Now, on the other side, you're like Switzerland? So what do you do any any tips for those young editors out there? When they have that client, I'm not talking about create a difference between you as the editor and the director that shouldn't happen. But between to a director, producer or executives in the room?
Lawrence Jordan 33:51
Well, I think my essential lesson or advice would be stay out of the line of fire.
Alex Ferrari 33:57
Right, because there's a lot of that
Lawrence Jordan 33:59
Dodge the bullets as best as possible, hide behind your avatar, if possible. No, I mean, you know, it's a, it's, it's part of the it's part of the job, and it's certainly a skill set that you're going to need to develop and get better at, as, as you get, you know, further on in your career. You know, obviously, you worked for the director, and you're trying to, you know, help them realize their vision. And, you know, that's your first loyalty. And and you're going to have disagreements with the director, but you know, it's best that you have those without the producer in the studio around, you know, those are discussions, creative discussions, explorations that you're going to have, and, you know, you'll come to, you know, your ultimate decisions, you know, in those situations, and, and, you know, it's different. I mean, you know, let's say, if it's the first time you're doing a film for a director, you're going to be you're going to have to learn their process and how much They're willing to tolerate in terms of feedback and input and things like that. But you know, I'm assuming that film, the school maker has some pretty, you know, pretty substantial input on on film, but you think they've been working together for 25 years, you know, and they're not kids. And, you know, I think that he values, her strong opinions, you know, as, as most directors will have, you know, editors of that stature. But again, at the end of the day, it's the director's decision. Now, when directors and producers go at it, and try to put you in the middle of it, you really do have to become Switzerland, or you could be cutting off your nose to spite your face, you could be ending a relationship with a director by saying something that compromises their point of view.
Alex Ferrari 35:53
And that gets around,
Lawrence Jordan 35:55
Of course, you know, it gets around and, you know, as an editor, you know, you don't have that many clients, you know, you'll work on a movie for eight months or a year, as opposed to mixers who can do 345 movies in a year, you know, what I'm saying, or people in production, who could do three or four movies a year, I mean, the production is at, you know, at the longest these days is three or four months long, and most of them are more like 30 days long. So, you know, you're working on, you know, movies for a long time with a personal person. So that relationship is really important. Now, of course, you've got to respect the studio and their decisions, you know, and their desires also. But that's really, you know, that's really something that I've learned to let the director work out with the studio. And if the studio puts you in the middle of it, you got to say, look, you know, I'm just the editor of this film, you really got to talk to the director, and you really got to, you know, figure out a way to get what you want, by by working with them. And, you know, there are so many producers on films now Oh, God, you know, I mean, back in the day, if there were two or three producers, it would be, you know, that would be a lot, but now it's, you know, 10 2012, exactly. So, you know, it's more like, you know, a little bit of a committee, and a lot of times, if, if they're all in there, or maybe eight of the 12 are in there, you know, there's more of sort of, like, massaging of the, of the director's ego and sort of like persuasion. So it makes it a little bit easier for, you know, the editor stay out of the line of fire. But of course, when they leave the room, it's always, you know, it's always, you know, me and the director, sort of, like sorting out the opinions. And times will be just like, Oh, those, you know, flipping idiots. And
Alex Ferrari 37:53
So basically, what the second the producers leave, the director goes, Larry put it back the way I had it. I put it back, I don't care what they say, put it back the way I had it. Well, it depends, obviously, the situation. Now, what's the craziest thing that happened to you in an edit suite that you can discuss publicly?
Lawrence Jordan 38:13
Oh, geez, I don't know. I mean, there have been so many crazy things. You know, I've always tried to, you know, keep the peace. And like I say, you know, the, the older and wiser I've gotten, the more I've realized that it's important to stay out of the line of fire, and keep my mouth shut, you know, because he, you know, sometimes, honestly, you know, they don't want your opinion, you know, and they'll be very forward about it, you know, and, and, you know, that's the whole sort of, like, you know, above the line below the line, sort of, you know, I'm not a five time Academy Award nominees. So, you know, the power that I have, or the clout that I have, isn't going to be the same as you know, as some other people. But, you know, there have been all kinds of crazy situations, you know, that there have been more like, you know, nightmare situations where you are screaming in the film two or three times a week for 12 producers, and, you know, the directors, very, very insecure and indecisive, and you're ending up trying to, you know, you know, meet the desires of 12 different masters and you end up, you know, coming up with, with kind of, like a really disgusting stew that nobody wants to eat. And, you know, the really good experiences have been where a director is, is, has a vision, really kind of like sees what they want to do, and it also has the sort of political and diplomatic savvy to, you know, persuade, you know, the powers that be to, you know, to that vision, you know, it's different director's job is sort of like a, you know, I always think of Francis Coppola as, like this master of not only the craft, but also of politics. And, you know, and obviously, he was a great artist also, but you know, you're you're really having to, you know, sell people on your idea. And I can't imagine, you know, I haven't been in on any of the, you know, in any of the cutting rooms, I've never done like one of these giant tentpole Marvel movies or things, or Star Wars or something like that. And I just can't imagine what it's like, when there's that kind of money on the line. You know, I've done a couple of things. I did a film, you know, for Warner Brothers, it was a, you know, it was like an $80 million budget. So that was, you know, somewhat, but still, it was, it was a different time. And and now, 20 years later, I can't imagine what it's like the pressure on the director and the editor, or editors, and, you know, to a certain extent, you know, there aren't that many tours left and the whole sort of autour theory is sort of like really
Alex Ferrari 41:05
The Nolan's The ventures there's, there's a handful of them, but not many. There's not many of those guys left and and you know, and especially in the studio system, maybe more in the indie world, yes, but a studio system that you know, the Coppola's there's there's Scorsese there's Spielberg, but those are that's the old guard.
Lawrence Jordan 41:23
Yeah. And it's just not happening as much anymore. You know,
Alex Ferrari 41:27
It's hard with $200 million on the line. It's Yeah, it's just so hard.
Lawrence Jordan 41:31
And a lot of times, you know, on these on some of these visual effects movies, they're hiring, you know, people with a visual effects background, whether it's a visual effects artist or
Alex Ferrari 41:39
Soup or somebody that understands it.
Lawrence Jordan 41:41
Exactly. And, you know, they don't have a lot of clout. And, you know, I think that was evidenced by the, you know, the replacement of Ron Howard on the Star Wars film. Yeah. And, and, you know, so, you know, the studio's in those situations, you know, they're really running the show, they're calling the shots, you know, and they have final say, I mean, very few directors have Final Cut anymore, except for like you say the Nolan ones and
Alex Ferrari 42:05
Yeah, but but Nolan proved himself already. Fincher Fincher proved himself, right. I mean, obviously, Spielberg and Scorsese and run and that guy was Jimmy. Jimmy Cameron. Yeah, him.
Lawrence Jordan 42:17
Yeah. But again, you can count all those people on to your hand,
Alex Ferrari 42:21
Two hands, you've got I mean, there's not that many guys that can can can wield that kind of power anymore.
Lawrence Jordan 42:28
Right. So the rest of our of them are, you know, they're just in there slugging it out.
Alex Ferrari 42:33
They're just, they're just trying to just shine until, you know, until you make a billion dollars, and then all of a sudden, like Ryan Coolidge. I'm sure he's gonna have a lot more sway on the next movie.
Lawrence Jordan 42:43
Yeah. And then I don't think anybody else deserves it more than him. I mean, that that film Fruitvale Station was was I thought one of the best films.
Alex Ferrari 42:51
I was great. And crew and creed was awesome. I thought creed was very good.
Lawrence Jordan 42:54
Yeah, that guy's got some real talents. And now I mean, boy, you know, the world is his oyster.
Alex Ferrari 42:59
He blew it blew it out of the water, man. God bless. You know, that couldn't happen to you know better filmmaker. Now. You edited Assassin's was at that $80 million movie you were talking about?
Lawrence Jordan 43:08
Yeah, I think his Assassin's was something like that. I was talking about jack frost. I mean, that Oh,
Alex Ferrari 43:12
God. Yeah. JACK frost. That would be Michael Keaton.
Lawrence Jordan 43:15
Yeah. Kelly Preston. And that had a, you know, that had a $10 million budget just for ILM.
Alex Ferrari 43:21
So yeah. That was a huge the effects budget. I remember that. That was when when Michael was authored.
Lawrence Jordan 43:27
Yes, yes. off of Batman. Right. We actually shot it down at the the Spruce Goose dome where they did some of the early Batman's, and, you know, that that was a you know, that was a real good experience, though. You know, I, I had worked a lot at Warner Brothers coming up. And, you know, Troy Miller, and I had a real good relationship. And
Alex Ferrari 43:50
How was it? How was it to work with Dick Donner?
Lawrence Jordan 43:52
Because he's, I mean, a legend. Yeah. Dick Donner was a, that was a pleasure. And it was really, you know, I gotta tell you, it was sort of like, living in the lap of luxury. Because, you know,
Alex Ferrari 44:05
Lawrence Jordan 44:06
There was a guy with cloud and talent and, and just a fun and nice person to work with. And of course, I worked on that with with Richie marks one of my mentors. And, but the crazy thing about that was that was one of Warner Brothers accelerated schedules. I think it was three months, I had three days off. So it was intense, to say the least.
Alex Ferrari 44:33
And just so just so everybody listening knows for who people who are listening who don't know who Richard Donner, I just call him Nick Donner. Because I know I'm obviously no, rich, Richard Donner because Richard Donner is basically the godfather of the superhero movie. He shot the first two Superman's, as well as the lethal weapons as well as Goonies and the list goes on and on. He's an absolute legend. I've heard nothing but he's the sweetest nicest person in Hollywood.
Lawrence Jordan 45:05
Yeah, he was a great guy to work for. I remember what coming and we were there on a Saturday once and they would have like a, like a mountain fruit. And you know, just so we have some breakfast and there was a little bit of fruit missing from this mountain. And he would come by and say, where's the fruit? Do they need more food, these people need food to work. And I was always like that. And you know, again, because he was such a powerful guy and, you know, filmmaker, with a lot of clout, you know, there was never sort of, there was no busting balls over over time, or things like that
Alex Ferrari 45:40
World, then you're in a complete. I know, people I know. I know, people who work in that world, that just like just just the money's not an issue. Just do the job. Just do that.
Lawrence Jordan 45:49
Yeah, yeah. Yeah. So it was fun. I came on after they got back from location. And, you know, and Richie really was, you know, the driving force editorially. I mean, there's, you know, the here's the guy who, you know, who was sort of like the supervising editor on Apocalypse Now and godfather two, and like I said, all the Jim Brooks film, so
Alex Ferrari 46:05
He's done, okay. He did. Okay. Yeah.
Lawrence Jordan 46:06
Yeah, you know, nominated for, like five Academy Awards. So, you know, it was just a real privilege and, and fun, because, you know, I was kind of like, the hot shot at the avid and, and I'd be like, doing things like, putting a gun shot in, you know, I would like cut out a flash from Photoshop is like a creative genius, or they're like, Oh, my God, I can't believe you can do that. You know, back in 95.
Alex Ferrari 46:32
I imagined like, you're cutting out a muzzle flash in the avid into like, doing it for a frame. And yeah, like, what is this witchcraft? You're?
Lawrence Jordan 46:42
Yeah, yes. We must have this guy on all of our films, you know, and Joel Silver was there. And this has been real before the majors matrix.
Alex Ferrari 46:49
Joel was still Joel. I mean, he did the lethal weapons. He's I mean, he was a legendary producer before even the matrix.
Lawrence Jordan 46:54
Yeah, exactly. So it was a lot of fun. But it was a crazy schedule. It was just, it was just nuts. And, you know, it was fun, though. You know, it was fun. You know, it's a rush. And then, you know, being a freelancer, you do those kinds of things. And like, I was much younger than I don't know if I could do it today. Sure. But you do those things. And then, you know, you take a month off, you know, you you have to decompress after so
Alex Ferrari 47:21
Oh, absolutely. Without question. Now. Now, you, you are now starting to give back of yourself and trying to teach other generations. The craft, as we said, talked about a little earlier, and you created a course called the master the workflow. Can you talk a little bit about that?
Lawrence Jordan 47:37
Yeah, you know, I was doing this film. I've done two films with with a guy named Mike Titus, who's just a terrific director and a great guy. And we get along great and you know, he's been working with Marlon Wayans and Marlins partner, Rick Alvarez for a long time. And we were finishing up naked or we were sort of like halfway into it. And you know, I like I said, I always try to like, you know, sort of powwow with with my people and Richard Sanchez was my assistant on that film and Richard's a you know, a crack asst he's, he's just top notch. And reminds me of myself, when I was a kid, he really into the job, you know, into the technical aspect, as well as the creative creative aspect has like an encyclopedia encyclopedia knowledge of film, so he's a lot of fun to work with. And one day, you know, I'm in his room, just trying to, you know, get a breather, just get a break from, you know, the stuff that's rolling over your eyeballs. And we're talking and he's showing me, you know, sort of his process, and I'm just thinking about how different the process was, from the time I was an assistant certainly on. And he's showing me this, this digital codebook that he, you know, created in FileMaker Pro, and basically, like, the whole movie is in this file, you know, like, all of the information, all of the metadata, you know, the EDL, the continuity, the timings, you know, all the ADR and music notes, everything's in there. And I'm just like, thinking, Wow, that is such a powerful tool. And, you know, it just got me thinking that, where do assistants get trained properly in though the workflow where do they get trained in the process? You know, in the professional filmmaking world, and, you know, I certainly have, you know, a certain amount of respect for, you know, film schools and things like that, but, you know, it's not the real world experience, it's not being in the trenches and running up against the things that you run up against. And, and so we started like throwing ideas around about creating this course that would that would teach the the process from the time you meet with your editor, and how that sort of interview goes in. What you might expect from something like that, through starting the picture, all the way through final delivery. And every step of the way, and I'm talking about we really drill down, it's it's six modules, it's 32 lessons and more than 13 hours of material, of what the experience of assisting on a feature film, you know, it really could be at any budget level, obviously, there's going to be more complexity, the more you know, the higher the budget, the more of it, things like that, but we cover visual effects. And, and we just documented the process. And Richard essentially, you know, sort of narrates the whole thing, because it's, you know, it's his bailiwick, and, you know, he's an expert at it. And I, you know, obviously edited it, and we, you know, we, you know, bad, you know, feedback with each other. And, and yeah, and we put it out there, and what happened was, it can, the response was so great, it just really confirmed that there are so many people out there that want to learn this process. I mean, it's not like one of your typical certification courses that you might write avid, or Adobe, or even Apple, it's, it's sort of real world experience from people who have done, you know, cumulatively, Richard and I have been, I've done over 45 feature features and television shows, and, you know, he's done over 15. So, you know, people who have been there who have been in the trenches, and, and like I said, we're getting, we're getting great feedback. And, you know, it's, it's, it's really nice, because it's so it's, it's great to see these young people, and some not so young, who want this material who find it has a lot of value for them. And, and they're just so excited about making movies. And that's a thrill because, you know, that's kind of like, you know, that that's what lights my fire?
Alex Ferrari 51:54
Well, great, I'll put a link to it in the in the show notes. So everybody listening, if you want to get real training on how to be an assistant editor, or at least understand what an assistant editor does, definitely check out the course I bumped around in there a little bit, and I would have killed for that when I was coming up. So yeah, congrats on that. Now, what advice would you give an editor wanting to break into the business today?
Lawrence Jordan 52:20
Well, you know, I think we, we've talked a lot about, you know, you know, some of the things that you know, that I did to get into the business, you know, it's different now. But I think that on a kind of like a fundamental level, it's not really all that different, some of the tools that you use are different. But you know, you've got to kind of get, you know, if you want to work in long form, you've got to get into that world somehow. Now, you know, just getting your foot in the door, there's a lot of ways you could, you know, you could just get a job in some sort of, you know, production environment, whether it's a PA, you know, a runner, you know, if you're, if you're doing that, even on a production, you'll be able to a lot of times, sort of, you know, peek your head into the, into the cutting room and meet the assistants, and the editor sometimes, and, you know, you start making that, you know, your world. And, uh, you know, a lot of people get into editing these days through reality, and because that's actually a way from, you know, the best of my knowledge is, that's a way to get into the union. And, and, and major films and television shows are controlled by the unions, that's just a fact of life. So, um, you know, you you, sort of, again, you sort of make your, your, your goal, you know, part of your world. And, you know, another way to kind of, like, do this is, is by utilizing the power of the internet. You know, I know that young people are very familiar with all of these things. But, you know, I've been fascinated to see how many people have been able to make connections and introductions and so forth, through Facebook groups. And, you know, there are Facebook groups, for every part of everything, it can process everything, and in every city, you know, so if you want to localize things, you know, if you're in New York or in LA, or, you know, in Mumbai, you can, you know, you can look for a post production group there. And, you know, if you're a decent human being and you don't alienate everybody shows up, we'll do that in these groups. You know, you can really start to make connections. And that wasn't possible when I when I was young. I mean, again, we talked about it, you went through the variety and you looked for the films in production.
Alex Ferrari 54:43
Sure, sure. Sure. Now, no, got Yeah. Go ahead. No, no, no, no. So um, so what is the lesson that took you the longest to learn whether in the film business or in life?
Lawrence Jordan 54:57
Oh, Jesus, I'm still learning them, but In the film business, you know, the lesson was, you know, early on, there have been many lessons, my friend. But early on, if you're trying to get into the businesses, you know, obviously, you're there's going to be some time where you're going to, you know, try to, you know, do have some experimentation. But if you if you realize, you know, kind of early on maybe out of college or something that you want to be an editor, you know, focus on that and sort of be directed in terms of really going for that, I mean, don't take a job unless it's absolutely necessary, you know, in some other part of the business, where you're not going to be exposed to the post production process, you're not going to be exposed to editors and assistance and things like that. Because, you know, I sort of spent a lot of time pursuing the cinematography thing, you know, until I realized that, you know, just, I didn't want to live that life, I didn't want to be on the road, you know, if you want to be a centimeter of photographer pursue that, you know, if you want to be an editor pursue that, if you want to be a writer, you know, write a kind of a common expression. It's like writers write actors act, you know, yes, we all have to make a living, but, you know, I, you can't be half assed about this career path.
Alex Ferrari 56:21
No, you cannot,
Lawrence Jordan 56:22
It can't be half committed, it's just too competitive. And there are too many people out there. So, you know, that would that would be a lesson early on, I think, I think I mentioned one of the lessons as an editor, you know, say less, listen more, unless you're, you're, you're asked and then and then be careful what comes out of your mouth. I you know, I think as a young person I was, you know, I valued my opinions much, much more than, and
Alex Ferrari 56:55
That's youth, man, that's just youth in general.
Lawrence Jordan 56:58
Yeah. You know, and, and, you know, I think I think that, you know, could get people in trouble. I think that, you know, listen, stateville on fire, be respectful. You know, work hard, I don't think it's a any kind of, you know, mystery. It's a, again, it's a competitive business. And you want to make as many, you know, friends as possible. Always be nice to the apprentice, because you never know, when they're going to be running these, the studio was a was an expression that used to be a tool. And it's very true, you know, you never know when, when that was gonna be great, write a great script and get a directing deal. So you know,
Alex Ferrari 57:36
I just don't as as the best advice ever is, like, Just don't be a dick. Yeah.
Lawrence Jordan 57:42
That's something that Richard and I, you know, it's kind of Richards phrase, because a lot, you know, again, on this in this online stuff, you know, you've got people who are just, they're ticks and it's like, why are you alienating yourself from from your community here, you know, just be a nice person. You know, check your ego to a great extent. I mean, you could be a, you know, the next, you know, Tarkovsky but just, you know, show it don't talk about it.
Alex Ferrari 58:08
Exactly, exactly. Now, what are three of your favorite films of all time?
Lawrence Jordan 58:14
Well, you know, I came up. And the reason you know, the reasons I wanted to be in the film business were were films like Bonnie and Clyde. And Diddy Allen's films were great. You know, Didi actually worked across the hall from my father back in New York. So I always knew about her. You know, I loved reds. You know, I love period dramas. You know, another editor that comes out of that, sort of like school is, was a guy who just recently passed away a great editor named Jerry Greenberg cut the French Connection. The French Connection was, yes.
Alex Ferrari 58:50
What an amazingly edited film that was,
Lawrence Jordan 58:52
Yeah, yeah. So you know, Dog Day Afternoon, another film of DVDs, you know, was was kind of mind blowing. I mean, but you know, I go back I mean, I think about the films that kind of like shaped my view of the world like 12 Angry Men with Henry Fonda and all those great actors more recently, I mean, you know, it's just there's so many great films. Oh, I cannot mention Apocalypse Now. I mean, that was like my, I saw that at a at the Cinerama dome and a midnight show, when it was called the Cinerama dome, excuse me. And, you know, that was like, wow, you know, you can change the world with movies, and you can change people's, you know, ideas about war and, and politics and life. And I thought, that's what I want to do, you know, I want to I want to, you know, be able to help shape, you know, people's, you know, viewpoints and help them see. Now, of course, I went into Hollywood and made a bunch of silly comedies, but
Alex Ferrari 59:52
There's still there's still there's still much value in making people laugh without question.
Lawrence Jordan 59:56
So I mean, they just don't make those kinds of films as much anymore and if they Do they are already in the world? And? Yeah, you know, it's, it's those fields are few and far between. But now there's been a lot of movies that I've that I've loved
Alex Ferrari 1:00:11
Now where can people find you? Oh, well online, not like your house address.
Lawrence Jordan 1:00:17
Yeah, the course is is at mastertheworkflow.com. And please come and visit us if you have an interest in getting into the assistant editing world, which, you know, we believe leads to Film Editing, and is sort of historically the best path to become a feature film editor. And you can check us out there we've got some, you know, free download some, you know, information about, you know, like your five key contacts on set, and some other information about the course. Yeah, check us out. And, you know, I want this to be timely, but we're going to be speaking at avid connect this year. And will also be at the LACPG. supermeet. at Las Vegas and nav this year.
Alex Ferrari 1:01:06
Are you going to be at nav great, I'm going there too
Lawrence Jordan 1:01:08
Yeah. We're partnering with, with people like avid and ACP we're, we're at the Edit fests. We were there in last year. We'd love it. If we're, you know, to put we're going to try to get to London this year. And yeah, we're just gonna be talking about editing and, and assisting and post production and introduce yourself and I'd be happy to to answer any questions. I can.
Alex Ferrari 1:01:32
Larry, man, thank you so much for just dropping knowledge bombs on the tribe today. I truly, truly appreciate you taking the time out.
Lawrence Jordan 1:01:39
Oh, well, it was fun. Alex, thank you for taking the time to talk to me.
Alex Ferrari 1:01:42
I want to thank Larry for being on the show and dropping some knowledge bombs on the editing front for the tribe. And if you guys are interested in his course, just head over to indiefilmhustle.com/235 for the show notes and there you will have a link to his course. And that's it for me today, guys. I got a lot of work to do working on some cool stuff for you some new content. So as always, keep that hustle going. Keep that dream alive and I'll talk to you soon.
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- Master the Workflow – Assistant Editing Course
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