Early in his career, Julio Pérez IV wasn’t sure what role he wanted to pursue in film until he found his place in editing. “I love almost every aspect of cinema, but the editing completely overwhelmed me,” he says. “I felt a wonderful connection with sight, sound and rhythm that I didn’t have in other aspects of cinema. “When I walked into a dark room and somehow played with the digital blocks you see in the editing timeline, I felt like I was immediately absorbed in a task that I thought I had no choice but to do.”
At work the killing nationPérez was approached by screenwriter and director Sam Levinson about a new project he was presenting at HBO. Whether or not he doubted the show would ever happen, Perez knew he needed to engage with a passionate creator like Levinson and that editing would be the perfect way to bring that vision to life. “As an editor,” he says, “I have a real alchemical fusion at the forefront when a film or show really becomes what it is.”
Created by Sam Levinson and based on the Israeli miniseries of the same name, ფ Iphoria Follows Ru Bennett (Zendaya), a recovering drug addict whose life changes when Jules Vaughn (the hunter Schaefer) moves to town. The second season takes place after Rue repeats herself and has no desire to clean up, while her childhood friend Lexi Howard (Maud Appathou) plans to stage a comedy about the lives of classmates and friends of her.
“[Levinson] “I wanted the show to reflect the dynamics of the adolescent mind,” said Pérez. “My experience as a teenager is high and low. “Everything is a tragedy or a triumph”. To accommodate the dramatic nature of the adolescent mind, she decided to use a more “percussive” editing style, adding “dramatic tragedies and worldview triumphs”.
Since the series is about addiction, a selective departure from this percussive style has achieved what he calls an almost narcotic quality. “There’s a feeling that draws people in,” he says. As editors we wanted to imitate this quality in some passages and then obviously we would have the opposite effect in other passages where one is more measured and patient with a sense of darkness and destruction.
The final two episodes of the season will be followed by a play of verse, which Pérez said was “funny and scary” to edit. “What I love about this episode is that it is immersed in the profound subjectivity of the verse.” While there have been views in the past of the verse where the viewer can see how the rum or other characters have hurt him, this is the first time the sight of the verse has told the story at all. “From the point of view of the verse, the whole episode shows how different reality can appear to other minds. Our main task was to connect with the emotional journey that the verse had, and not just with the intellectual and surreal elements. “
Click on the video above to see the full interview.
Source: Deadline
