Kristin Marguerite Doidge
Even though image editor Dan Rovetto (Ace) grew up in New Jersey and started entertainment at his internship at MTV in New York City at his heyday, he believed it was time to bring more love to Los Angeles. He moved his young family to Los Angeles in 2010, and soon after, he transitioned to scripted TV, eventually going from assistant editor to editor in the hit series “Suits” and several seasons of “Gray’s Anatomy.”
But it’s the first season of his latest show editor Pilot and new spin-off, “Suit Los Angeles,” which will premiere on NBC on Sunday (and the Peacock on February 24), which helped him realize he was aware of himself The degree of love for the past 15 years he has been called the city of home.
“There’s an opportunity to help shape the next chapter of the ‘Suits’ franchise,” Rovetto said. “But working in a series that highlights the beauty of Los Angeles is special, especially given the horrible wildfires recently.”
He said he also believes the “suit” pilot is an exciting opportunity to transition to the new environment for the series while respecting the keen dialogue and intricate character dynamics of the original series fans and with the creators of the original show and Performer Aaron Korsh reconnects.
“Dan is a huge collaborator,” Korsh said. “He has a strong point of view, willing to express it, but he is willing to explore various methods, [he is] A creative problem solver, fun to spend a lot of time with…of course, he comes from the jersey, but everyone has to have at least one flaw. ”
Cinemontage recently caught up with Rovetto to learn more about what led to him becoming an editor, transitioning to scripted TV, and more about the creative collaboration between him and Korsh, which brought his bold vision to life.
Cinemontage: Tell us about your early days and how they led you to edit?
Rovetto: Growing up, I remember feeling a lot of pressure to figure out what I wanted to do in my career. The idea of making such a big decision at a young age may be trapped on the path of uncertainty that I felt overwhelming. But all I know is that I like to be creative, to connect with people, and to have a positive impact on their lives. I once joked that I graduated from Rutgers University with the classic “Unsure sure what I want to do with my life” communication major and received a psychological minor.
Actually, I really like these studies. It has been a strong interest for me to understand myself and others, and looking back on it, I think it is a perfect degree for me. An insight into human nature helps to understand the character’s motivations, which ultimately helps inform me of certain choices as an editor. At the same time, this understanding is equally valuable when working with different creative professionals.
I also interned at MTV through Rutgers Communications, which led me on the path of becoming an editor.
Cinemontage: Who helped you develop your love for movies/storytelling as you grew up?
Rovetto: My love for storytelling and movies began when I was very young. My father was a trade sheet metal worker, but at home he was like a crazy scientist. Creativity, endless creativity, and always tinkering with something. He is also a very outstanding self-taught pianist who can pick up almost any instrument. When I was a kid, he would make up these super imaginative stories for me and my brothers on the spot. Family movie night is also a huge tradition in our family that has bothered me for years.
My dad also likes gadgets and has one of the earliest cameras, the kind you have to carry a VCR on your shoulder, fixing the VCR to the camera. My brother and I will do what we can and make small movies and music videos. Looking back, these experiences may be my first introduction to the magic of filmmaking. The intersection of creativity and connection with people seems natural.
Movie: How to become a father yourself change the type of project you are pursuing?
Rovetto: Being a father has had a profound impact on my life and editing methods. When my first son was born, I was only 25 years old, and five days later, the nurse realized he had an irregular heart rhythm and we had to rush to get implants at Mount Sinai Hospital in New York City. The doctor said his condition was very rare and luckily everything was solved. Today, my son is 20 years old and he is healthy and has few limitations. I also have a 15-year-old son and a 13-year-old daughter.
However, the early experience of the eldest son made me evaluate my life and the future I wanted and the future of my family. Having this experience motivates me to be the best father I might be, but I also don’t want to ignore my career goals and ambitions. So, I don’t think that one is sacrificed for the other, but in some ways I’m more determined to pursue my ambitions in the scripting world. I’ve always tried the best of both worlds at least, sometimes it can’t solve, sometimes it’s really hard, but for me it’s always worth the effort.
Cinemontage: How did you first get involved in the original “suit” series?
Rovetto: I first joined “Suit” in 2012, working as an assistant editor for its second season. At the time, I recently moved to Santa Monica from New Jersey to break into scripted TV. I started my career at the entertainment event at MTV in New York City, where I first tasted editing and fell in love with crafts immediately.
After being associated with the editors of the reality show world, I decided that I absolutely loved editing…but my real passion was in script shows and movies I watched as a kid with my dad, whether it was “Quantum Leap” or “Star Wars” 》Episode 6: The Return of the Jedi, a fusion of written narrative and visual performance art, really inspired my creativity. So, before I went too far, I decided to do whatever I needed to break into the scripted TV world Something about.
It turns out that this is where my pregnant wife and two little boys, 2,700 miles across the country, moved to anyone we know. I was working as an assistant editor on reality TV…night. Although it feels like a step back at times, I know what my goal is, and working at night is actually a huge blessing in disguise. It gives me the opportunity to take advantage of web and shadow assistant editors in the scripting world. It was in those shadowy meetings that I met the editor who would let me break through scripted TV and end up being one of my biggest advocates and closest friends: Peter Forslund, ace .
I also want to yell Lori Jane Coleman, who introduced me to Peter and was running an internship program for American film editors when I was considering moving to Los Angeles. Knowing that I have her support makes me different and reassures me that if I pursue my dreams, I will really make them come true. She was my first mentor and played a major role in the earliest part of my career. ACE Executive Director Jenni McCormick also received great support at the time and has been around today.
Cinemontage: Should we also understand the creative and collaborative process behind “Suits La”?
Rovetto: In my Time Assistant Editor “Suit”, I took this opportunity to name myself as an editor. Eventually, I started the first episode in the second half of season 3, episode 2 of season 4, and then when season 5 emerged, I officially started as a full-time editor for the series. I was lucky enough to work on some of the biggest episodes of the show – the season premiere and finale, the embedded pilot of “Pearson”, and the finale of the “Suit” series that ended in the ninth season.
If Hollywood has the toughest list of performers, Aaron Korsh should be there. I believe his work ethics is an important part of the success of “suits”. He did lead by example. When it’s time to work for the pilots of the new show, we rely on years of work experience and work together to produce stories. I cut 30 episodes of “suits”, which means Aaron and I have a strong relationship in Edit Bay. Over time, I did hone his storytelling sensitivity and desire to work effectively, and after co-creating some of the biggest “suits” plots, we developed a great creative shorthand. Addressing these high-bet plots gives us confidence that we can use our experience to make the “suit” pilot the best chance to be green light.
Cinemontage: What is your current setup and how does it help you succeed as an editor?
Rovetto: I cut the “Suits La” pilot at the gorgeous Fox Studio Lot in Los Angeles. I have the option of doing partial edits at home, but I will definitely work as myself as possible. My editing settings are largely very standard: we are running Avid Media Composer 2023 and Nexis storage systems.
I also like having effects and Photoshop on hand, just in case I want to try any advanced temporary visuals. I think the real X factor in my arsenal is my programmable peripherals and macro software. The keyboard master allowed me to combine multiple keyboard combinations into a press with one key. My Megalodon triple knob Macropad and programmable mouse gave me more macro options and provided additional keys that helped me cut as efficiently as possible, thus giving me more time to creatives. Most importantly, I’m happy to still be a part of this industry and have the opportunity to continue to grow into an editor and do the work I love.
This interview has been edited for length and clarity.
Kristin Marguerite Doidge is a regular contributor to the cinema and the author of Nora Everone: Biography.
