Christopher Tellefsen

0:20Within the script, it was known we were going to do something where we would have to give some kind of a feel and explanation to savor metrics. And we wanted to do it in an elegant and graphic way that wasn't too fancy, that was like about information, but was framed very graphically and very beautifully. And the graphic arts we worked with a gentleman named Johannes Gamble who shot the individual shots that we gave him a piles and piles of information. And he found a monitor in a Salvation Army that had this wonderful huge pixels. So you see a shot of the piece of a number and stuff and the pixels are like that, red, green, they're really elegant but with that black too.

1:08And he really discovered a look that we loved. And in the editing of it, we wanted to be all like hard cuts and very very sharp and simple and clear. That was the MO. Right. Nice. What was your favorite part about it in this film? It's so dense and I'd say maybe I would say that the scout scenes were just so rich and so fun. And they were like small movies in the style. And a lot of footage was shot just to get the dynamic of these guys with Billy and being like this like a force of opposition and this like just walled that he had to like sort of push through. And they were just amazing. They were just so much fun and it was just so much to work with.

1:58That I'd say the scout scenes were my favorite. Well I heard the losing streak and the winning streak must have been the toughest part for you. They were difficult and they were also things that we needed help. We needed help. If I didn't have a few people working with me helping out on those things, we'd still be editing. We'd be honest with you. But we had some wonderful additional editors who helped with the archival and the baseball footage. And Corwin, Logan Heppelfinger and Connor O'Neill. Nice. One were you running for the project? I know this one we had with Soderberter. I know this one. I came on with Ben. I came on with Ben. Okay. The whole business before happened happened. And then when Ben was brought on to the project, you know, he started talking to me about the

2:45fact that it was going to happen. He wanted me to do it. And when we had dinner and he really gave me the idea of what the underpinnings and what the story really is. And what brought you to the story? What made you say it was a Bennett? Or was it? It's a combination. And of course, you know, I really like working with Bennett, but I think it's a fascinating story. And besides being a fascinating story, you know, the bread pit and the wonderful choice, wonderful odd choice of Jonah really got me excited. And it seemed like they would have a great dynamic. There were some other actors attached that were all of them, and honestly, it wasn't that excited about that. But with Jonah, it really felt like there was going to be a reinvention and something very exciting there. And there's something about the two of them. They just had a dynamic that, you know, you could just sort of, you could project it. But when you didn't get it until they were going to on screen, it really happened.

3:34But do you have something called five questions? Five quick questions. One more to answer. Who do you look up to in editing? Ralph Rosenblum. Leonard Rokarney. Leonard. Favorite baseball team? I don't like baseball. Well, it's baseball. I better make jokes all the time about the fact that you're lying like something that's like clueless about the baseball. It's like all about character. But I'm not going to say that. I'm not going to say that. I'm not going to say that's a bad thing. I'm not going to say that's a bad thing. I'm not going to say that's a bad thing. You can say that's a bad thing. I'm not going to say that's a bad thing. Of course, the old thing. Because I really learned to hate the actors. Oh, there you go. I'm the only one I was proud of. Moneyball. And one word, Chris Tullison. Chris Tullison. And one word. Chris Tullison. Huh? Very nice. Thank you. Appreciate it.