Wes Anderson's Editor Breaks Down His Unique Style

0:00 - Wes Anderson's Longtime Editor, Barney Pilling
1:38 - How Wes Anderson Creates His Signature Timing
6:30 - Building A Sound & Music Bed First
8:45 - Creating New Frames for Depth
11:53 - Use Riverside
13:10 - Re-Composting in EVERY Shot
19:03 - Use MusicBed
20:16 - Wes's Rumination on Grief
22:09 - Mixing Stop Motion & Live-Action
26:40 - The EXTREME Layering & Composting
29:25 - Wes Anderson's Favorite Storytelling Themes

Hosts: @HillierSmith & @JordanOrme
Guest: Barney Pilling, ACE
Intro: Liam Bedford
Executive Producer: Vishnu Vallabhaneni
Thumbnail: @notdvdaltizer

Additional music thanks to AllttA

In this captivating episode of The Editing Podcast, hosts Hayden Hillier Smith and Jordan Orme delve deep into the world of editing with none other than Barney Pilling, the master editor behind Wes Anderson's most iconic films. From the Oscar-nominated "Grand Budapest Hotel" to the whimsical "Isle of Dogs" and the recent masterpiece "Asteroid City," Barney Pilling's editing prowess has left an indelible mark on cinema.

Join Hayden and Jordan as they dissect key scenes from Barney's illustrious career, exploring the intricate timing, stop-motion mapping, and other classic Wes Anderson tropes that define his unique style. Whether you're an aspiring editor or a film buff, this episode offers invaluable insights into the art of editing and the creative process behind some of cinema's most beloved films.

[williamshakespeare]

Love that even his house is symmetrical behind him lol.

[Jawnexplores]

Virginia Woolf wrote about her novel The Waves "I am writing to a rhythm, and not a plot". I feel that Wes incorporates this perspective in his filmmaking.

One of the most substantial stylists of all time cinema, imo.

[terrahawks]

I can't believe this podcast about how editing choices can create emotional moments is literally sponsored by an app that promises a robot can pick the best clips from your podcast.

[AllenRReid]

You guys are doing a great jobs of getting the big dogs on your podcast. Love the insight into their world of editing. Thank you.

[pandyssianrat]

Now we need a Paul Machliss interview! I NEED to know how he edits for Edgar Wright. Especially on Baby Driver, where everything is edited to music lol

[theeddytor]

i put everything in one line (as what i think about it) wes anderson does what 90s animation artist use to do. PERSPECTIVE, SYMMETRY, ISOLATION AND FOCUS POINT.

i could be wrong but i am someone who watches movies after knowing who has directed and Wes has been in my top 10 list of directors.

[Keef_Burtons]

Not sure why this ended up in my playlist but glad it did. Thought I'd maybe watch 1-2 minutes and turn it off but got to the end wanting more. What a great interview, Barney was a great interviewee.

[starkerrobert]

Yo what that's perfect! I just watched the four short films and ABSOLUTELY LOVED THEM!!!

[danielpottsphoto]

The fact this is free 😮‍💨 Such an interesting conversation. Keep them coming!

[mentallyhyp]

Dear Hayden. I have now been watching your content for what seems to be 4 or 5 years now and I just wanted to stop and say thank you for all that you are doing on and off the scenes. I see you in so many other peoples projects in the audience and being part of their lives and doing all you can to share the journey of others. thank you

[ittueaday]

One of my favorite episodes, I listened to it earlier and wow, I can't wait to translate all the aspects of timing to my own work

[marcusgramdp]

Cool to see my shot in the opening sequence!

[thebathuman]

Really awesome interview! Great to spend time with someone who knows Wes' work so intimately.

[ocmrjrs]

Imagine being a director and having all theese talented people create your film.

[RossyDourado]

Wes Anderson, has become my favourite. BIG FAN OF THIS podcast since day 1.

[zonedmon]

Thank You for this episode guys, Much Appriciated

[hermancharlesserrano]

What a fab cast! The obsessive eye, the attention to rhythms, the air…lovely insights

[rottensquid]

I'm no editor, yet I feel like, though it's not a metronome like with music, there's a common timing to thinking that's pretty universal, that editing plays with. We feel it, because we all have similar rhythms, even us neuro-divergent folk whose rhythms are just a tad different. Be we feel it when a pause is just a tad long. It feels as though there's more going on than just action/reaction. A long pause gives us room to take things in, to contemplate, to digest, rather than just react. I think that's what the term "pregnant pause" alludes to. Anderson's dragging out that scene lets us laugh at Scarlet's dramatic pose, then think, "wait, is this real? No, it's just her character acting. But is it? This is going on a while. What if..." and then she speaks. In a way, it's no different than the peeing shot in Austin Powers, that just keeps going on and on long after it's no longer funny, till the moment it's funny again because it's just so persistent, and then it cuts abruptly.

I think the same is true for the abrupt cuts, that don't give us time to even react. They convey that zero thought is going into the next action, and we laugh at the universal stupidity of human nature. Again, it plays with the rhythm of thought. We don't think about thought's rhythm, but we're always subconsciously aware of it. I believe this is why editors always describe editing as an instinctual skill. It can't be learned through explanation. It has to be felt.

[natalierushman]

Would love to see an episode about editing movie trailers!

[AnitaSleapz]

So amazing to have this kind of insight to iconic editing and storytelling.