In addition to adding new photos and videos that weren’t in the stage show, another challenge was making smooth transitions as Diamond and Horovitz told story after story. Buchanan and Schack edited the stage show content and, ultimately, the movie on Avid Media Composer. The stage show was filmed with six ARRI Alexa cameras Autumn Durald was the cinematographer. You might say the duo had “no sleep ‘til Brooklyn,” which coincidentally was the site of the final stage show. “It was a pretty wild schedule for the live performances,” says Schack. They said it wasn’t uncommon to be editing at night until 4 in the morning and then making more edits until just before the doors opened for the next show. More and more photos and videos turned up almost every day, so Buchanan and Schack were actually editing footage in between the stage shows. There was a really wide range of everything you could possibly imagine, so there was managing all of that stuff.” We had MiniDV footage that was transcoded. “We had film footage that we had to digitize. “I don’t even know how many hundreds of hours in different formats of archival footage we ended up with,” says Schack, who is also an editor at Final Cut. The heavy lifting that had already been done involved combing through hours and hours of footage and creating the photo and video montages for the stage show. The first phase of the edit was essentially, ‘Which take should we use for each individual story?’ Sometimes it was, ‘Which take should we use for each individual line?’” “They did four shows, and they wore the same clothes every night, so we were able to jump between shows pretty seamlessly. “The structure of it was already in place from the stage show,” says Buchanan. By that point, much of the heavy lifting for Buchanan and Schack had already been done. There had been talk from the start about turning the stage show into a movie. We were on it even before the beginning.” “We were already cutting stuff that was going up on the screen while they were writing the show. “Zoe and I were on in the beginning stages of the writing process of that, and we were at every performance and every rehearsal,” says Buchanan. Eventually Zoe came on, and she and I just cut together all of these montages and photo montages, video clips for the book tour.” Both Buchanan and Schack have earned an Emmy nomination for their work on Beastie Boys Story.Īfter the book tour, Diamond, Horovitz and Jonze got together and wrote the stage show, which was basically Diamond and Horovitz on stage talking about their lives together and the history of the band, with a large screen behind them to support their stories with visuals. “So they started sending photos and YouTube clips, and there was just so much material. “I had been working with Spike for, like, 15 years,” says Buchanan, an editor at Final Cut in New York City. Jonze recommended Buchanan, whose editing credits include Jonze’s Her. So when Diamond and Horovitz were planning a book tour before their memoir, “Beastie Boys Book,” was published in late 2018, they asked Jonze who they could get to create some photo and video montages to display behind them as they were reading. Jonze, who co-wrote and directed Beastie Boys Story, first worked with the band when he directed the popular music video for the hit single “Sabotage” in 1994. Along the way, surviving Beastie Boys members Mike Diamond (Mike D) and Adam Horovitz (Ad-Rock) had been working with their good friend, Oscar-winning director Spike Jonze. Before the stage show, there was a book tour. Before the documentary, there was a stage show.
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