by Nancy Jundi as originally published by CinemaEditor Magazine
In 2002, while most of us were still adjusting to a post 9/11 world, the story of Wall Street Journal reporter Danny Pearl was making headlines around the globe. While researching a story on shoe bomber Richard Reid in Karachi, Pakistan, Pearl was kidnapped by a Muslim militant group and beheaded. His wife, Mariane Pearl, initiated and helped direct the urgent search for her husband, tracing his last movements for five weeks until she learned of his brutal death. Pearl, who was six months pregnant at the time of the incident, wrote the novel A Mighty Heart: The Brave Life and Death of My Husband Danny Pearl, documenting her husband’s life, their life together, the abduction, the concentrated rescue efforts and his eventual death, in hopes of introducing her son to the father he would never meet. Her focus was not about the hatred and bitterness, but about the joy of life that she and Danny shared.
Michael Winterbottom’s film adaptation of Mariane Pearl’s novel is riveting and unforgettable. Rarely can a film draw you in and leave you so moved that it sticks with you for months afterward, and while it may have been released as far out from Oscar season as possible, it’s hard to imagine A Mighty Heart being overlooked. With Angelina Jolie’s emotionally charged depiction of Mariane Pearl, director Michael Winterbottom’s intensive look at a world so far from our own, and the Herculean feat that Peter Chistelis accomplished in the editing room, this is a film that we hope will find the recognition during Oscar season that it was unable to achieve at the box office.
How did you get your start in editing?
PC: I went to film school where I found that the most interesting and enjoyable process when making a film was the editing. I started working as a freelance assistant editor for TV stations around Britain, returning to them and working on better programs which included documentaries and dramas. The directors and editors were also freelance and had ambitions like myself to work within the independent features world.
I first met and worked with Michael Winterbottom in Manchester where he was shooting the first episode of Cracker. Working on film meant an assistant was often required around the editor and director whilst editing, which gave me a great insight into how creative ideas were talked about and then put into action. I worked with editor Trevor Waite, who has cut many great Michael Winterbottom films. We worked as a team for a few years going from features to documentaries and back to features. I learned a great deal at this time. In 1995, Michael Winterbottom and Andrew Eaton, Michael’s producer, formed Revolution Films. From the start their output was impressive, ground breaking and prolific, which kept me busy. I feel fortunate to have worked with them so much over the years.
How familiar with the events of Danny Pearl’s story were you prior to this project?
PC: I was aware of the Daniel Pearl story because at this time Michael was in Peshawar, Pakistan filming In This World, which I had started editing back in London. I was particularly sensitive to stories coming out of Pakistan at the time. What the world needed was a journalist like Daniel Pearl to inform us what was happening on the ground, in the minds of ordinary people; not more killing and hatred.
Having done a number of documentaries and films based on true stories; do you make a point of research or try to keep a fresh approach to the film?
PC: Revolution Films tirelessly researched the film A Mighty Heart down to the fine details. When I came on board the script was in place, which meant that most of the research had been done. As an editor, if you are dealing with real lives I think research is necessary and interesting; it helps your understanding of the rushes. Any questions I had I put to Michael and got in-depth, well-researched answers which made sense in the way Michael was steering the film. The film was recording an event that needed to have a grip on the events so it could depict something close to the reality. It’s important because a film like this is a way of recording history.
Did you read A Mighty Heart? Do you feel reading material a film is adapted from is important to the overall feel of your work or do you want to concentrate on the new story being told in the new medium?
PC: It was important to read Mariane Pearl’s book. You can’t get any closer to the chaotic events and emotions than by reading A Mighty Heart it leaves you moved. The film needed to do the same, and I think that Michael and all involved have achieved this; it’s true to the book.
Did you go on location or have to move your set up with production at all or did you remain stationary?
PC: I remained in London where a new Final Cut Pro suite had been set up at Revolution Films; it would have been a shame to dismantle it.
In a lot of Michael’s films, the line between documentary and drama/narrative is blurred – how do you go about creating that feel in the edit room?
PC: It helps if you are dealing with real events. The rushes come in as if they are part of a documentary; they give the illusion of having just documented a real event. The camera is always handheld, well-framed, and often on the move documenting the drama unfolding. No two takes will have the same camera action. All the exterior background action is authentic, and time was spent documenting Karachi at all times of the day and night. Documentary shots and news stories from the day, interwoven with good performances of true events, is a potent mix that leaves you feeling that you are watching a true story as the events unfold.
Michael seems to work with a lot of the same people over and over again – does that lend to the feeling of a well oiled machine or increase ease of a project?
PC: It is good working with the same people who are good at their jobs. No one has anything to prove, everyone gets their heads down and gets on with the process of making the film. Great friendships have developed over the years amongst crew members, which can only be a good thing.
Considering the amount of improvisation and characters that lent to the documentary feel, how much footage were you dealing with on a daily basis? Were there transcripts ordered of the material and, if so, how many pages would it generally be?
PC: We got up to 4 hours a day. We didn’t use transcripts.
The pivotal scene when Mariane/Angelina breaks down in the bedroom was overwhelmingly emotional. There were very few cuts leading into that performance, and it was one long, continuous shot. How many takes were there to choose from? Was one interrupted take the intent all along, or was it the reward of such a solid performance?
PC: There were not that many takes but they were long and unforgiving. The rushes for this scene in particular were very powerful. Up to this point Mariane had kept her emotions in check. The performance from Angelina was explosive. All of the actors were emotionally charged. Everyone was affected. The camera choreography, framing, lighting, performance and script all came to a head during this scene. Michael wanted the performance to take control, which it does.
Michael tends to utilize natural light and the hand held quite often. What kind of challenges do those elements bring to the table?
PC: The hand held, natural lighting element of many of Michael’s film has worked well. The talented DOP Marcel Zyskind has worked with Michael on many of his productions. Communication between them is exceptional and this manifests itself when you view the rushes. All takes are relevant, all takes vary. To have all of this material is great for the edit.
The sound was rather impressive – how intensive was your mix?
PC: In the true style of A Mighty Heart , the sound design was there to reflect Karachi in reality. Many authentic tracks from Karachi were used which added to the chaotic and vibrant atmosphere.
While this story depicts a life and a world that most of us will never know, the feat that Michael Winterbottom and Peter Chistelis accomplished in making this film is remarkable. From the detail in set design, sound, and costume, to the jaw dropping performances and brilliant cinematography, it’s a harsh awakening when you remember that this was all very real and not so long ago. The story of Danny Pearl will always be mentioned in history books, but it will inevitably become a tiny fraction of the larger story being told about this period in American, and world, history. This is one film that will remind people how much more was involved, just how real these people were, and exactly what kind of fear many of us lived with because of daily news broadcasts like Danny’s story.
