by Nancy Jundi as originally published by CinemaEditor Magazine
Comedy and drama/tragedy have been juxtaposed as long as the thespian symbol has been around. The masks themselves are meant to represent the spectrum of what moves us and what it is we relate to as an audience. Happy or sad, they are the two most recognizable and easily relatable emotions. What has always struck me as odd, however, is the black and white nature of their value come awards season. The seamless mesh of comedy and drama has been creeping up on us slowly, but surely, in the past few years. Strong messages shrouded in witty banter have captured our attention and brought about a new genre we’re all now familiar with – the Dramedy. Some are a more obvious mix than others, like Little Miss Sunshine, while many dance more on the side of comedy, like Knocked Up or most anything out of the Apatow camp. Dramatic topics are addressed, there are poignant moments in each film and relatable, every day characters speak the lines that offer a bit of levity to otherwise heavy moments, which isn’t always as easy as it may seem. Sometimes tears are nothing more than a bit of eucalyptus in the eyes where as a laugh is precise timing without shortcuts or a safety net. These films are often over looked due to their humor. They’re generally pigeonholed as just a comedy and so these films become underdogs. Generally made with a fraction of the budget that an Oscar hopeful drama spends, these underdog films reap tremendous profits. Still, they remain on the back burner when it comes time to give credit where it’s due.
One of the most prevalent voices in this evolving genre is Jason Reitman. Writer/director of Thank You for Smoking, an undeniable comedic spin on the political nature of exploiting a vice, and director of Juno, a comedic look about teenage pregnancy through the eyes of a witty, yet very juvenile, mom-to-be, Reitman has certainly given us deeper topics to discuss with his films than just a few punch lines. Dana E. Glauberman served as editor on Thank You and Juno as well as having previously worked with Jason’s father, Ivan Reitman, on films like Evolution and Father’s Day as an assistant editor. She received her first Eddie Award nomination in 2006 for her work on Thank You for Smoking and I was pleased she could spare some time away from her current project to talk about her work with the Reitmans, her signature style and what she sees ahead for the Dramedy.
How did you get your start in editing?
Dana Glauberman: I graduated from U.C. Santa Barbara with a major in Film Studies in December of 1990. When I attended the school, there wasn’t a large production department. The one film production class that I did take, however, made us put together a 5-minute short film from beginning to end. We were responsible for all of it – writing, casting, shooting, directing, producing and editing. The only part about it that I liked was going into the small dark room and cutting my super-8mm film together. That was when it clicked and I decided to pursue editing as a career.
Fortunately, I’ve worked with a lot of amazing people throughout my career, all of whom I have learned a great deal from and been fortunate to avail myself of their knowledge. My first job in the business was as a production assistant in the post production department at Hearst Entertainment – a television production company. After eight months (and 18,000 miles on my car!) I felt it was time to learn the basics of film editing in a real cutting room environment. I began donating my time on a couple different movies of the week (MOW’s) and then went on to working for little money just so I could continue learning. I was making wonderful contacts the entire time and it was many of those same people I met and learned from that have helped me get where I am today, matched with a true passion for what I’m doing.
You’ve worked with both Ivan and Jason Reitman – how similar are their techniques and do they ever consult one another on projects?
DG: Ivan and Jason are similar, yet so different. They are both extremely intelligent and wonderful storytellers. They both know what they want and how to achieve it. They will consult each other from time to time, of course, it would be silly not to, but they both tend to stick with their own opinions. It’s nice to see such a father/son relationship that is based on genuine friendship, trust and respect.
How has the process worked with you and Jason – do you have dailies notes or do you generally put together a first assembly before he joins you in the cutting room?
DG: I honestly couldn’t ask for a better working environment. Generally, Jason and I will keep in close contact throughout production; however, I won’t always get dailies notes. I’m constantly sending him cuts of different scenes and, on occasion, he will provide me with feedback on those. The real fun begins though, when Jason comes into the editing room and we can work together. We work fast and furiously. The assemblies for both Thank You for Smoking and Juno came in at approximately 2 hours and 2 minutes. Within the first week, I think we lost nearly 10-12 minutes of each film, respectively. It’s important to both of us to have fun during the process – and we do. Our work together is a true collaboration, which is how a solid director/editor relationship should be. Jason knows what he wants, but is always open to suggestion.
JUNO showcases tremendously poignant writing and moving performances which happen to be terribly funny as well – do you think we will be seeing more recognition for the comedy (or dramedy) in the coming years or is there too much of a prestige placed on the straight drama for the message filled comedies to break through?
DG: I feel that it is a case-by-case basis. I think there will be a lot of recognition for this genre; however, it all depends on the strength of the individual film.
You did a number of TV Shows in the beginning of your career. How did you make the jump from TV to film and was film your preference?
DG: Having my start in television would have made it very easy for me to fall into TV entirely, but I always wanted to get into features. As an editor, there is something about seeing a film through from start to finish and being involved in all aspects of it that was always very appealing to me. I don’t remember exactly how I got my first assistant editing job on a feature (I believe a colleague had recommended me for The Birdcage), but it helped that I had both a film background as well as experience with the Avid.
You’ve worked with some amazing scores and soundtracks between Thank You, Juno and Factory Girl – how does the music effect your overall timing decisions and how a scene may play?
DG: I don’t generally add music to my cuts until after the director has seen my assembly. I’ve found that music can be such a personal touch that if I choose the wrong piece, it can affect how the director watches a scene. Additionally, unless I’m cutting a music video, music should be a nice addition to a scene, another spice, so to speak, rather than dictate where my cuts land.
What have been some of your most memorable experiences thus far in the editing field – any obstacles or triumphs that made you realize this was what you wanted to do?
DG: Every movie comes with a different experience and all have been memorable in their own way. Some were as simple as finding a new shortcut driving around Los Angeles, while other shows helped me meet influential people in the industry and getting to learn from some of the best in the business. I’ve been fortunate to work on films ranging from enormous blockbusters to really low budgets, and while they’ve all given me distinctive memories some also allowed me to overcome memorable obstacles.
My biggest triumph thus far was with all of the wonderful hype that surrounded Thank You for Smoking after the 2005 Toronto Film Festival and beyond. It culminated though, when I was recognized by my peers in the form of an A.C.E. Eddie nomination. Ever since graduating from college, the only thing that I wanted to do was edit a film, a good one at that. I never, in my wildest imagination, would have thought that I would receive a nomination from such an honorable group of talented artists simply for doing what I love.
When you first read a script, are you already making cuts in your head or do you wait for dailies to come in before you really invest in how a scene forms?
DG: When I read a script, I just read it. I don’t try to make cuts in my head because I don’t know what the director is going to shoot. Naturally I can picture things, but most of the time what I picture in my head while reading the script is completely different than what is actually put on film. Once dailies come in, I can get a certain idea of how I want to cut it and how the director intended it to be cut. There are also times, however, when I just dive in with no preconceived idea of the direction and simply allow my instincts to guide me.
Thank You for Smoking was such a fast paced film with imperative and well placed cuts. What was your thinking going into the film for how it needed to be edited and how did that evolve in the room with Jason?
DG: Some of the fast-paced, stylistic stuff in Thank You for Smoking were ideas that Jason had already thought out in his mind (i.e. all of the character introductions). Others were a collaboration of ideas in the cutting room, like the traveling montage where Nick and Joey fly to Los Angeles. It started out as a 3-minute sequence that ended up closer to 20 seconds. We were able to fit all of the material we wanted into that sequence through use of split screens, motion effects and speed ramps.
How does an organization like ACE help you get to know other editors and what was it like being nominated for you first Eddie?
DG: A lot of times editors are overlooked for what we bring to the table and many people don’t understand that we, too, are part of the creative process. It’s nice to know that an organization like A.C.E. keeps our craft visible.
Being nominated for an Eddie and being recognized for my first big feature was a huge honor. It was completely unexpected and something I hold very near and dear. It was such a personal win for me to simply be nominated alongside that very talented group of people.
