by Nancy Jundi as originally published by CinemaEditor Magazine

Considering the subject matter of the best selling book, “What to Expect When You’re Expecting,” one would imagine they’re walking into a documentary rather than a GROWN UPS (2010) style comedy. However, with comedy heavy weights like Chris Rock, Cameron Diaz and Elizabeth Banks navigating the trials of parenthood, you can only expect to pee your pants… Completely natural. Since 2000’s TV series “Ed,” Carrie Puchkoff has often served as Assistant Editor to Michael Berenbaum, A.C.E. and they’ve teamed up again to bring life to the characters this universally embraced book inspired. “The film is essentially a narrative that uses elements from the book for some of the story lines specific to the difficulties and surprises leading up to and during pregnancy,” said Puchkoff. “The film also shows what men go through which is a nice surprise; I think people would expect this to be about and for women but it covers the dads too.”

Puchkoff has been working with the funny for quite some time having been a part of some big laughs on both the big and small screens. She served as the First Assist to Berenbaum on the SEX AND THE CITY (2008) feature film, as well as the assistant on its predecessor TV series of the same name. Box office hit MEET THE PARENTS (2000), cult classic DEATH TO SMOOCHY (2002), Awards Season darling IT’S COMPLICATED (2009) and recent hit THE SMURFS (2011) have all been amplified by her uniquely trained eye. Lest her dramatic chops go to waste she also assisted on televisions “The Wire” and “Nurse Jackie” in addition to features including HOLLYWOODLAND (2006), THINGS WE LOST IN THE FIRE (2007) and THE READER (2008). It’s an incredible and varied dance that many would love to mimic. Having crossed back and forth across mediums, aesthetics and genres is no easy task, but Puchkoff has made it look effortless.

“The similarities and differences vary more for the technical reasons rather than genres,” said Puchkoff when asked about how stories and audiences differ. “One big difference would be VFX; although I don’t typically work in films that are heavy in visual effects, each film we work on seems to have more and more.” While she assured me that no one actually got pregnant for WHAT TO EXPECT, there was quite a bit of prosthetics and makeup to make the family magic happen, something she was used to working with after 2008’s BABY MAMA. When the film is “delivered” to a theater near you on May 18th, keep an eye out for one of Carrie’s favorite scenes. “I particularly love the scene at the end where Cameron Diaz’ character Jules gives birth.  She is an A type personality with a lot of strength and confidence. Watching her character realize the changes she will have to make for her baby and then when she finally gives birth is quite poignant.”

In a summer filled with super hero franchises, mega budget shoot ‘em up sequels and Presidential vampire hunters, I’m looking forward to a satirical look at what it means to be a parent and a scared out of your mind parent in the making. With a bit of Chris Rock improv and a whole lot of what life throws our way when we think we’re prepared, I couldn’t think of a better way to kick off the summer blockbuster season. Congratulations to Berenbaum and Puckhoff on yet another wonderful teaming and film. Time to celebrate; it’s a girl!

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

I was born and raised in NYC (upper west, with three years in Madrid, Spain from ages 6-9 and I finished growing up in the west village when we moved back).  My parents nurtured my love of drawing and art from a very early age.  Every Saturday I spent the day at the Art Students League drawing or painting. I studied art history in college, worked in museums and spent a lot of time traveling in France. My interest turned from painting to sculpting, which I work on between projects.  It would be a long time before I discovered the connection between my artwork, studies and editing.

2. How did you get your start in editing?

I was introduced to it through a friend of my dad’s. I had just moved back to NYC from Ann Arbor where I completed my MFA in painting and art history and I was teaching. I knew very quickly that I didn’t have a passion for an academic life. My dad introduced me to someone who was working on small, low budget non-union film. She offered to teach me how to handle film, and I loved it. I immediately took to the intense organization of a cutting room while maintaining a connection to a rich art form.

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

RAIDERS OF THE LOST ARK (1981); going to see this film with my Dad, the scene came up where Indy was barely out running the giant stone ball that was about to kill him and didn’t. My dad leaned over to me and said, “this is great editing.” That was when I started to really pay attention to how scenes were put together to draw emotions

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

THE READER (2008), which was a different genre than I usually work in, but I really loved being a part of that editorial crew.

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

During the first season of “Nurse Jackie”, Michael Berenbaum, A.C.E. asked if I’d like to cut any scenes. I chose one where Jackie is struggling to get her wedding band off in soapy water. When I gave my cut to Michael, he showed me his version and explained how my cut could better emphasize her specific struggle.

In hindsight, there isn’t necessarily a particular scene that I would go back and re-cut, but when I watch films, TV or review cuts I look at them with Michael’s advice in mind, for details, focus and context.

6. What platforms are you familiar with (Avid, FCP, Lightworks, Film)?

I started out on film and a few years ago I cut a series of webisodes on Final Cut Pro, but I work with Avid whether it’s a TV series, pilot or feature. I’m most comfortable working with Avid since it’s the constant walking into most new environments.
7. Technically speaking, what have you found to be your system’s best feature?

Stability and structure

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

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

Clint Eastwood

10. What upcoming film, other than your own, are you looking forward to? PROMETHEUS (2012)! I love the Alien films.