The editing of 'The Holdovers' is dissected by writer-producer David Hemingson and editor Kevin Tent today on The Process.
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“Especially in an Alexander Payne film, economy is everything. Because there’s subtlety and there’s nuance, but there’s also bigger comedy, and then there’s pathos,” he says. “So it’s like, how do you economically line things up so all of the Alexander Payne elements land?” In conversation with editor Kevin Tent about his work alongside Payne on the film, Hemingson goes on to observe that the duo “as a team do that,” with Payne driving things as one of the great “visionary” filmmakers of our time. “And me, as a screenwriter on this one,” he adds, “I was trying very hard to get there.
For Tent, who has edited Payne’s films since the very beginning of his career, one of the more unique aspects to the experience on this particular film was grappling with its music. Oftentimes, he suggests, he’s able to grasp what a project needs musically and even hear its score in his head before its ever put to picture, though that wasn’t the case here.