Bryan Shaw: Editing images of cars, gladiators and upturned catamarans...
2016
Award-winning editor Bryan Shaw has worked on a wide range of documentaries and dramas. He has cut documentaries about photographer Robin Morrison, motorcyclist Kim Newcombe, and lost catamaran Rose Noëlle. Shaw moved into dramas with Jay Laga'aia series Street Legal, then went on to edit many more, including Outrageous Fortune, The Almighty Johnsons, and Spartacus.
In this ScreenTalk, Shaw talks about:
- How all the elements came together on early documentary Sense of Place: Robin Morrison, Photographer
- The challenge of telling the story of four men trapped in an upturned catamaran for Back from the Dead – The Saga of the Rose Noelle
- Admiring the shooting-on-the-streets style of drama series Street Legal
- Editing Outrageous Fortune, a show set on his old home turf
- Combining his passions for motorcycling and 8mm film, on award-winning documentary Love, Speed and Loss
- The challenges of dealing with visual effects on drama Spartacus
- Almost causing a car accident on the set of Sione’s 2 - Unfinished Business
- The joys of recreating 1970s society and music for Outrageous Fortune prequel Westside
- Why having more than one director on a TV series is a good thing
Interview Credit
Interview, Camera and Editing – Andrew Whiteside
“...the second series, it seemed to really find its legs. The first series . . . it was like growing up in public. In New Zealand shows we don't make pilots, so you get to make all your mistakes in front of everyone. And there weren't many in the first series. But the second series . . . everyone was extra confident because it had been received so well.”
Bryan Shaw on the early seasons of Outrageous Fortune
Copyright
This video was first uploaded on 15 March 2016, and is available under this Creative Commons licence. This licence is limited to use of ScreenTalk interview footage only and does not apply to any video content and photographs from films, television, music videos, web series and commercials used in the interview.
