by Nancy Jundi as originally published by CinemaEditor Magazine

So you like zombie films, huh? Or will this be a ladies night out to fawn over a well-preserved Brad Pitt, saving his children and the world from impending doom? Maybe it’s the VFX coalition of starving artists who are responsible for such a film that will be picketing outside that gets your attention? No matter what, you’re a target demographic. Action, drama, love conquering all, everything blowing up, heart strings being pulled – similar to how it would be with an actual zombie onslaught, none of us are safe from the draw of one of this summers biggest tickets. What might be surprising is that at its helm is director Marc Forster, possibly best known for smaller, more intimate, Oscar favorites films like MONSTER’S BALL and FINDING NEVERLAND. Having cut his action chops rather nicely on the Bond franchise with QUANTUM OF SOLACE and 2011’s MACHINE GUN PREACHER, Forster has stepped up to take on what many are calling out as a redefining of the genre. That being said, back in 2008, after reviewing one of the early versions of the script for WORLD WAR Z (WWZ), Ain’t It Cool News’ legendary Moriarty set forth what many a fan boy and girl have since held as the bar when he said “It’s a genre-defining piece of work that could well see us all arguing about whether or not a zombie movie qualifies as ‘Best Picture’ material.” Lest I get ahead of myself, it should be noted that the script has since changed – Many, many times. However, this is what most people will be salivating for once the theater goes dark.

Having never been a fan of zombies or even horror films for that matter, I was astonished by the idea that I could like a novel based on the undead as compelling reading material. When Max Brooks’ “The Zombie Survival Guide” came out in 2003 most of my friends were yammering on about it only to completely inundate me in 2006 with its follow up, “World War Z: An Oral History of the Zombie War.” I had no interest, I wanted nothing to do with the impending nightmares I knew would be sure to come, but eventually I succumbed. I read a page. What followed was a love affair. This wasn’t blood and guts scary. This was reading what felt more like a forecasting of what could stem from biological warfare and a playbook on how to survive as if the Navy SEALs had gone ahead in time, lived through it and came back to give us the trial and error run down of it all.  It was as if Howard Zinn had rewritten “A People’s History of the United States” to include our end by zombie. It was a remarkable read that was as visual and imaginative as it was completely impossible to visualize on the big screen. In all fairness, few films should be compared to their literary predecessors, but it was especially exciting to hear that Pitt’s production company had snatched it up. Pitt, after all, was the star of one of films greatest literary transitions to film with FIGHT CLUB. It’s his voice we hear close out the trailer with a promise, or possibly a threat. “I’m coming back. Just know I’m coming back,” he says as zombies pile high on the screen.

June 12th can’t come fast enough. With more and more super heroes crowding out the every day man, I’m excited to welcome the return of a guy and his brain taking center stage. Okay, sure, he’s Brad Pitt and he’s playing U.N. advisor, but you get the idea. A summer blockbuster where we can focus as much on the human story being told as much as we do the blow ‘em up happening around them is a nice change of pace. Speaking of the every day hero, the crew on this project deserves more than a tip of the hat. From the numerous locations needed to capture a world wide pandemic to the storage needed to contain such a footage and VFX heavy film, the eyes of this editorial team will have earned some much needed rest when they cross the finish line. James Andrykowski, First Assistant to Editor Roger Barton, A.C.E., on WWZ has seen his fair share of action packed films with S.W.A.T., UNDERWORLD: EVOLUTION and THE SCORPION KING under his assistant belt. Never mind that this isn’t his first rodeo with worldwide terror. He fought that deathly monkey in the edit room as an assistant on 1995’s OUTBREAK. As harried as they are on WWZ, I managed to force Andrykowski into a game of Who’s On First. So here he is, ladies and gentlemen, your every day, unsung hero of the edit room. Meet your patient zero.

1.Where did you grow up and did that background lend to an interest in film or editing in particular?

I was born in Chicago, IL and lived there until my family moved to a farm in Chadron, Nebraska when I was five.  At the age of 14 my father died and we moved to Littleton, Colorado, where I went to high school and became interested in film. Growing up on a farm was an amazing experience, but my interest really started in Littleton where I participated in an internship program at a public access channel. I rode a bus 2 hours each way to get there and helped people to record and produce their programs. I ran camera, worked the mixing board and then helped edit the programs.

2.How did you get your start in editing?

Working four, 10 hour days at a t-shirt printing shop to make ends meet and then getting one day a week off to work as a PA/Grip at a commercial house for free. After a while, my work ethic got me enough freelance work as a grip. I was paid good money so I quit my t-shirt job and worked 6 days a week on commercials saving up to make the big move to LA. When I moved, I sold everything that didn’t fit in my ‘78 Camaro and moved out. The only job I could find was a PA in Post Production under Hal Harrison at Viacom. He was an assistant editor and it all started from there. Hal was an amazing man and I will never forget him. I learned what happens in the editing room and got hooked.  From there I got a job as an apprentice on a low budget feature film and earned my hours so I could get in the union.

3.Is there one scene in television or film that you can remember having given you an appreciation for what an editor does?

The chase in ROAD WARRIOR was one of those scenes that made me think, wow, I would love to partake in making something like that.

4.Is there something you’ve cut or worked on that you’re especially proud of?

REMEMBER THE TITANS, edited by Michael Tronick. At the end of the first preview the audience was clapping and cheering, it was incredible. Some woman walked up to me and asked if I worked on it. I replied yes and she congratulated me saying Hollywood needs to make more movies like that.

5.Is there a scene in television of film that you would love to go back and put your own spin on or see the raw material?

I would love to see all of the dailies where Luke Fights Darth Vader in THE EMPIRE STRIKES BACK.

6.What platforms are you familiar with?

All of them. I started on Film, and then went to Lightworks. Now I have been working almost exclusively on the Avid, but still cut videos and docs on FCP.

7.Technically speaking, what have you found to be your system’s best feature?

Command “Z” – going back one step and taking back the mistake you made.

8.What feature are you hoping to see in the future?

For the avid and media composer I wish they would work out a simple, complete way to export QuickTimes to H264 specs that can be posted to PIX. I wait for an export that not only takes forever, but is not guaranteed to work because the export bar is never accurate. I end up exporting Same as Source and then go through the program MPEG Streamclip. With the technology today there has to be a way to expedite Quicktimes to post for review.

9.Is there one person in the industry, living or dead, be it director, editor, or otherwise would you like to work with?

Sidney Pollack

10.What upcoming film, other than your own, are you looking forward to?

The next AVENGERS and CAPTAIN AMERICA pictures.