Port’s editor, Dan Crowe, on working with guest-editor Daniel Day-Lewis on the film issue and shooting promo films with Ray Winstone
Camera Assistant Luke Carlisle
Sound Recordist Emanuele Costantini
Editing Ben Boullier
Music Jean-Gabriel Becker for Sounds and Sons
Production Company BOSH
Working with Daniel Day-Lewis on our film issue was a refreshing experience. Rather than bringing in a host of established actors and big name directors, Daniel opted for a focus on what happens behind the camera: directors of photography, the editors and producers, hair and make-up, prop masters and script writers. The title-sequence designers and sound editors. Even the PA’s get a look in. All these people are as valuable as the leading actor, and yet receive nowhere the same adulation or acknowledgement as movie stars.
There are inevitably a couple of well-known faces in the issue. Director Paul Thomas Anderson on his first cover shoot was thrilling to work with; interviewing Ray Winstone, and working on a couple of promotional films for the issue with him, was a great deal of fun. That man is a national treasure and a true gent.
The movie business is unique in that it requires a large number of people, all with ludicrously high standards, to work together for long periods of time to produce a single work. You must be utterly focused in getting the best out of yourself and those around you. This comes across time and again in the issue. As Thelma Schoonmaker, Martin Scorsese’s editor, says, “The worst is having to fight to keep your film from being ruined. But we are battle-scarred veterans when it comes to that and we haven’t lost a fight yet.” I love that sentiment and hope in some way we have been able to reveal the scope and talent that goes into making great movies.
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