let your star be the editor -- especially if he's the producer
When filming was finally over, the real work came - cutting the shots together into a complete story. Douglas and Paco edited whenever an Avid bay was free. Most nights, Douglas would say goodnight to his wife and son and drive to Burbank to edit until four AM. Paco had it worse: He had to come back to the post house every morning at seven for his regular job.
The late hours led to some surreal moments. Working in the exact editing bay
where they had filmed several scenes, Paco and Douglas watched Paco and Christopher
sit in the same seats they were sitting in. Around 3:00 in the morning, that
got to be pretty weird. When Paco synched up his own dialogue tracks, Douglas
would often hear something Paco had said weeks ago on the set, and think he'd
Douglas relied heavily on Paco's editing experience. It is generally accepted by filmmakers that although the director shoots the movie, it is the editor who saves the movie. Paco's remarkable sense of comedic timing both as an editor and an actor helped pull off the film.
Still, there were times when being the editor was at odds with being the star. Douglas often accused Paco of cutting to his own close up whenever he didn't know where to go next. The running joke of post-production was that they would have to rename the film "Paco: The Movie!"
The film really came together after picture lock when they could finally add the music and sound design. The sound effects were designed by Mike McAuliffe of Seattle's premiere audio post-production house, Bad Animals. Mike used the signature style that has won him numerous Emmy awards for Bill Nye: The Science Guy to contribute to Trailer's over-the-top take on studio movies.
Brandon Roberts composed and conducted the original score using just twelve live musicians overdubbing tracks to sound like a full orchestra. His score evokes the rich, Gothic feeling of an overture from a movie of the 30s or 40s.
Seattle bands provide the film's popular songs. The biggest coup was getting the Seattle legends, Mudhoney to allow their song, "Inside Job" to be used as the film's anthem. Seattle Band Blue Spark's "The Truth" became the theme for the film's third act. What impressed the production team the most about these songs is that even after listening to them thousands of times during the editing process, everyone would still find themselves singing along.
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