Rob Feld
Robert Nassau’s path to film editing began with many: movie nerds. He knew he wanted to do something in the movie, but didn’t know what. His first film performance was a summer job, filling out the character’s prop address book and filling in the insert shot for a second with different colored pens. When observing the various departments set to get himself into the actual production position of the movie, he realized that the command looked competitive and that the result was like a guy who had been on his phone all the time, and photography meant hanging up Heavy duty camera. However, editing is a balance of creativity and technology that makes him a film major explore it further.
The timing of Nassau is accidental. As digital editing begins to erode the movie, he finds his first job because he is familiar with fanaticism. Along the way, he absorbed courses from editors he encountered at the film school in RISD and later influential mentors such as Prague and Paula Heredia. His big breakthrough came to New York, where he worked on documentaries and reality TV, and then found his niche in comedy editors.
“I’m proud of the weird, bad projects I did earlier, like editing German businessmen talking about IBM computers for market research,” he said. “Even then, I’m thinking, ‘Hollywood is not Hollywood, but I’m cutting it. Photos. ‘Every job teaches you something.’ From web comedy gaining appeal to famous collaborations with directors like David Wain and Michael Showalter, Nassau ( Nassau) strives to enter the established comedy world.
His latest film, “Real Pain”, directed by Jesse Eisenberg, follows cousins David Eisenberg and Kieran Culkin, who travel to Poland to explore their Jewish heritage and respect them Their late grandmother survived. Nazi concentration camp. David, anxious but living a traditional life, contrasts with the emotionally turbulent, fragile but charming Benji, who seems to be lost forever. As they browse through historical sites and personal memories, the film explores the themes of generational trauma, identity and family bonds. Nassau faces the challenge of balancing humor and sadness, and with a unique rhythm.
Movie: You have been working in many comedy worlds, including Apatow-World. What’s wrong “Real pain” is coming?
Robert Nassau: I’m working on “The Disadvantages” directed by Randall Park, one of the producers, Ryan Heller, from the subject, mentioned to me about Jesse’s film. He said, “I think you two really get along.” I read the script and thought it was great and when I met Jesse we knocked it down. I understand where he comes from and it seems to click immediately.
Movie: What did you talk about with Eisenberg about the sound or style of the movie? It has a lot of jumps. Did you discover this organically or did you discuss it early on?
Nassau: The script is very clean and spare-I long for and really relate to it. It strikes a balance between funny and sadness in my cab. We didn’t completely pin the style until I had the visuals to respond, but the tone was clear from the beginning. Jesse trusts me to explore this.
Movie: How does your collaboration work?
Nassau: Jesse is one of those actors who don’t watch themselves on screen. Earlier, after the first day of filming in Poland, he called me in panic and said, “I can’t see myself – I’m terrible. Everything is terrible.” He trusted me and the producers to make sure things work . We had to check it a few times a week, but he didn’t see anything until I was about to prepare for the conference in New York. I let him look at it, “Clockwork Orange” style-bound. Once he got past it, he was able to objectively evaluate the film and we worked well together after that.
Movie: What did you draw from the lens to shape the rhythm and tone?
Nassau: There is a lot of freedom in the pace. It is written as dialogue, but there are also these long and spare footage of travel. I had room to play and found the right flow between the conversation scenes and those moments of contemplation. Jesse also plans to use Chopin’s music in the score, which gives me an emotional guide. This decision is concerned about some studio people, but I think it’s perfect – it floats above the action, providing an objective presence without making the emotional rhythm too hard. Sometimes the music cleverly highlights humor, and humor is excellent. I learned a term from Judd Apatow – “sweat” (“sweat”) is comedy comedy. You never want to “sweat”. Chopin’s work makes things effortless, which is always my editorial goal: even if there is a lot of work to be done, it makes it look natural.
Movie: Did you absorb another approach or sensitivity while studying at FAMU in Prague, maybe apply it to this European-based story?
Nassau: I think it’s about individual teachers and curriculum structure, not any significant cultural differences. That said, I think there is something special about Czech filmmakers and their sense of humor in an era. Some say it has to do with coming from a country that has been occupied for much of its history. Czech directors I really admire – Jan Nemec, Ji ime Menzel, Milos Forman, Voy Chichisny Vojtěchyasný), věrachytylová, ivan passer – Humanistic films produced, usually with a sense of humor, some of humor and some of subversive political adverbs. I remember going to Menzel’s office, where he caught a group of students. I really want to hear Forman, but he teaches in Columbia in New York and my grades aren’t good enough. My friends and I belonged to a movie club at the time – basically a screening room with a communist era cigarette smoke chair, where they showed some of the movies that inspired me to the director – William Wyler, Jean Vigo, Rene Clair, Rene Clair- Again, again, something more interesting, humanistic. I do think there is a difference between the European and American models today, and Jesse and I realize it is “real pain.” We try to draw a path in half of what you might expect from another or another person. At some point in the editing, we had a rough screening of friends, faithful to the genre, a European filmmaker presenting wanted us to wander more on the landscape, while a Hollywood filmmaker’s friend wanted us to be There is a happier ending, so we want to know we’re on the right track.
Movie: Do you still remember what the challenges of this project were?
Nassau: There are two emotional roof scenes that carefully calibrate the performance and rhythm. On the lighter side, there is a scene where guys watch TV. Initially, they should have watched a Polish soap opera or a police show, but it felt too funny or engaging. Then we thought Polish information TV, but it was also too interesting. The joke is that they were smashed to death and watched TV. Then it happened to me, what about the menu on the hotel screen? Whenever there is a screen in the movie, it’s like editors get crazy about those things. We are proud of this decision.
Movie: What other key courses does this movie come from?
Nassau: Pacing is crucial. We don’t want to impose audiences by being too bulky. Jesse and I both value constraints – bringing the audience into the story. I even have a rule, I call St. Chris Weekday Rules, and no monologue should be longer than Olivier in “Henry V.” That clocks in about two minutes and 18 seconds. We may have crossed. I’m not sure, but I think we’re just wires on the restaurant site.
Movie: This is a rule worth spreading! What about performance? How did you handle it in editing?
Nassau: Performance is my top priority. Comedy and drama are the most real moments. I always remind myself of the “Editor” of Ancient Rome, a man who gave a thumbs up to the gladiator in the arena. We still have this power – the decision of performers in the editorial room to live or die.
