That was another way we felt contributed to a contemporary feel - continuity matching wasn’t quite how we approached the material. We had a few iterations until we hit on just the right balance that everyone was happy with. The nonlinear storytelling came much later in the process, but within each scene there were more jump-cut flashes as well as little bits and pieces that would be interspersed in the middle of the more dramatic portion of the storytelling.įreeze frames were another experiment that would come and go throughout. It was more jump-cut and nonlinear-not only throughout the plot but within the scenes too. Just like most shows, it evolved into being. It took a bit of effort and patience, but once we got it there, it fell into place for the most part. It was a process of evolution in the experimentation until we landed on our film language. In my edit I also experimented with contemporary sound and music, which helped achieve our goal-more tonal and rhythmic in nature.Ī modern-feel while retaining the historic feel. It was my job to experiment with cutting patterns, rhythms and style aimed to interest a new generation in Houdini and his work. Obviously, this is a bio-pic of a character who was prominent in the early part of the 20th Century so it was a period piece, but they didn’t want it to be old-fashioned they wanted a contemporary feel. How did you achieve that contemporary look in terms of the edit? So as I was getting my dailies, I was trying to figure out a rhythm and a cutting pattern and a look that might be a little more contemporary, which is what they wanted. I had heard from him and the producers that they were looking for a certain style for this piece, and they had thrown out some examples of the kind of things they were looking for. Was it a constant collaboration throughout filming? The director, Uli Edel, was open to suggestions. I look at them all the same, and I am there to help all the creatives get it to where they want it to be. And that’s exactly what happened on Houdini.Īnd regardless of the type of project, I treat it with just as much intense integrity as I can, whether it’s a low-budget project, a huge blockbuster movie or a television project. If it’s my first experience with a director, I figure out their style and their rhythm, or if they are looking for me to contribute, that’s fine too. So that’s my first goal: how do they envision their piece, and how can I help them get there. My job is to get in touch with what the director is looking for - what’s in his or her mind about what the project needs to be. Just before the miniseries premiered, Plisco shared details of her process and the editorial workflow on Houdini. L-R: Sabrina Plisco, Karen Mayeda and David Beatty. She credits co-producer Karen Mayeda with doing “a fabulous job keeping the logistics of this post production together.” There were many “fun challenges,” as Plisco referred to them, for the editorial team that involved individual scenes shot at multiple locations, bluescreen shoots, visual effects and a tight domestic turnaround. For help with the show, she brought in editor David Beatty, assistant editor Jered Zalman and, later in the process, another assistant editor Paul Alderman. Houdini, shot with the Arri Alexa camera, on-location in Budapest, was edited on Avid Media Composer 6.5 by Sabrina Plisco, ACE, (S murfs, Smurfs 2, Charlotte’s Web, Sky Captain and the World of Tomorrow, Into the West). The Uli Edel-directed Houdini tells an old-fashioned story in a new way, grabbing the attention of a new generation of fans of magic and illusion. An inspiration to this current generation of illusionists, Houdini was the subject of an eponymously-named miniseries that premiered Labor Day on the History Channel. But before either of them drank fire or locked themselves in a water-filled box in front of a crowd, there was Harry Houdini. When asked about magicians or illusionists who push the boundary, most young people would immediately think of David Blaine or Criss Angel.
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