Joi McMillon — the first Black woman to earn an Oscar nomination in film editing (alongside fellow editor Nat Sanders for Barry Jenkins’ Moonlight) — recently reteamed with her Florida State classm…
The thing we wanted to be sure of was translating how inventive the novel is to the screen. Our approach was one episode at a time — what’s the tone of the episode, and how should it flow together so that when you step back and look at all 10 episodes as a whole, it makes sense? Even though chapter one and chapter 10 were the episodes that I worked on first, having the ability to go back and being informed of how the episodes were going to play out was really great.
The challenging section was that [attack at the] church scene, and to convey that devastation. At first when I was tackling it, I was making quick cuts … kindof action-sequence editing. And I remember Barry watching it and being like, “Take your time.” Because if you’ve ever been in a car accident or if you’ve ever experienced something so traumatic, it does feel like time slows down. And the thing that was so sad is these people are trapped in this church and they’re just so vulnerable.
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