by Nancy Jundi as originally published by CinemaEditor Magazine
The term “rare breed” is oft over used, but in this case it’s disturbingly fitting for Assistant Editor, Ryan Murphy. He’s captained the assistant chair on SYRIANA (2005), FACTORY GIRL (2006), STOP-LOSS (2008) and ADVENTURELAND (2009) to name a few favorites. Serving as the first assistant to editor Dana E. Glauberman, A.C.E., on Jason Reitman’s YOUNG ADULT, Murphy stepped into Diablo Cody’s first reteaming with Reitman since 2007’s JUNO. Apropos – if Juno weren’t a fictional character I’d think Murphy was related to her. Cody’s world is an interesting land of characters with sharp wits that abuse those with an inability to keep up. In YOUNG ADULT, Mavis Gary (played by Charlize Theron), goes back to her hometown in pursuit of her high school sweetheart, completely unconcerned by his happily married status and newborn baby. It’s quite a different character study and somewhat unexpected given the stereotype many have tried to put on both Reitman and Cody. There’s an underlying heaviness that is fantastically blanketed by well written and timed comedy – no small feat to consistently honor in the edit room. Mavis is our anti-hero, you’re never rooting for her, but you’d also have a hard time rooting against her.
“Jason made this film very loyally to Diablo’s script,” said Murphy. “I think everyone knew someone like Charlize’s character from his or her own formative years. How you feel about her character will relate exactly to where you stood in the social landscape of your own high school experience. Her evolution didn’t surprise me but the decision to stick with a more realistic portrayal of her story was impressive and a bold move.” I’m pretty thankful that in the social landscape of my high school, I actually beat that girl up. It was legendary. Murphy’s favorite scene will probably wind up being the favorite of many. “Charlize’s character emotionally goes to Mars in the climax of the film. It’s off the charts on the breakdown/train wreck scale. Since we all seem to feel more comfortable and confident about ourselves when someone else in the vicinity is completely losing it, I think this scene will quickly find its place in the conversational reference lexicon.” I’m not one for spoilers, so I’ll say this much – you might buy into the film for the laughs, but you’ll leave with an understanding of where the laughs are rooted and maybe a few more sympathetic thoughts toward the popular girl you always kind of wanted to beat up… Or did beat up. Whichever.
Using NY State as a stand in for Minnesota, except for what you see in Minneapolis (ironically referred to as the mini apple in the film), YOUNG ADULT was also edited entirely in NYC. While I would never pigeonhole Murphy as just a NY editor, I will classify him as a legitimate NY experience. Sure, you’ll find him out here in L.A. from time to time marveling at pedestrians who say “hello” and sunshine that smacks you in the face like a fistful of bleach, but I’d rather hear his jokes and grab a slice while meandering SoHo. In the years that I’ve known him he has consistently been one of the more fascinating and artistic conversationalists I’ve ever met – both on the screen and outside of it. He’s not the guy you call because you’re looking for pat answers or a simpleton take on a complex situation. He’s the guy you call because you want to get something right and make sure it was thought through from a perspective you probably never considered. Fortunately he’s also the guy you can count on to bring levity to any situation. I won’t go into some of the stories he has in his arsenal of funny, frankly, you need to earn those, but it’s a relief to know they’re there when the beach ball of death pops up on your screen. With that, I’ll let you have your own taste of the razzle dazzle that is Mr. Ryan Murphy.
1. Where did you grow up and did that background lend to an interest in film or editing in particular?
I grew up in Boston, where there was a pretty happening art house movie theater scene. Theaters like the Orson Welles Cinema, The Nickelodeon, and The Brattle really enabled my inner cinephile.
2. How did you get your start in editing?
I started out by working at Avid in tech support. I wanted to learn how to use Media Composer but could never get into the Avid class at my school. Avid was located close by and I heard that you got your own system at your desk when you worked in their tech support department. After a few years I left and started assisting.
3. Is there one scene in television or film that you can remember having given you an appreciation for what an editor does?
I remember being really taken aback by the cut in Stanley Kubrick’s “2001: A Space Odyssey” when the bone the caveman throws into the air becomes the space station.
4. Is there something you’ve cut or worked on that you’re especially proud of?
I was the first assistant to Tim Squyres, A.C.E. on “Syriana” (2005). One thing I think was honest about “Syriana” was that it candidly portrayed the interweaving circles of global power. The 1% of the 1% that make policy decisions that impact current and more importantly, future generations. I think the list of films that do that is much too short.
I was also very fortunate to make a brief appearance in that film. I got to do a scene with Tom McCarthy and Will McCormack where we shoot a missile from a drone that kills George Clooney’s character. I got more mileage out of that with the family than for anything else I’ve ever done.
5. Is there a scene in television or film that you would love to go back and put your own spin on?
John Boorman’s “Point Blank” with Lee Marvin is one of my favorite films. I’d love to be able to work with that footage and see what else I could come up with that exists in the head of Marvin’s character. That colorfully tiled hallway at LAX with him briskly walking with the sound of his shoes getting louder and louder hypnotizes me every time I watch it. I’d want to explore every inch of that character’s cerebral neighborhood.
6. What platforms are you familiar with?
Today you have to know both Avid and FCP. I prefer Avid but often wonder why there aren’t a few more stable options for film editing.
7. Technically speaking, what have you found to be your system’s best feature?
I’m a huge fan of the flexibility and workflow advancement that AMA (Avid Media Access) has brought to Media Composer. That was a long time coming and felt like a ten-year leap in Avid’s history.
8. What feature are you hoping to see in the future on your system?
When are we going to be able to have an actual conversation with these things? How overdue is being able to assign a personality type to your Avid? I should be able be able to shuck and jive with my editing system especially when I get stuck waiting for the waveforms to painfully redraw.
9. Is there one person in the industry, living or dead, be it director, editor, or otherwise would you like to work with?
Preston Sturges.
10. What upcoming film, other than your own, are you looking forward to?
I’m excited to see “The Artist.” I’d been wondering for a while when someone was going to take a shot at a silent film. It would be amazing to see more silent films being made each year. Once people were able to move past the “I can only relate to this because of the old timey” factor, it could get really interesting. I think it’s a genre that’s ripe for a re-birth.
