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A few years ago, I got really intoRobert Altman movies. I spent an entire month unpacking this singular artist's work while reading a book about him.
At the end of it, all I really understood was that I was going to have to watch these movies many more times to truly appreciate them.
Altman is so singular, that's why I was happy to stumble across this video ofPaul Thomas Anderson praising his work.
Let's dive in.
Paul Thomas Anderson on Robert Altman
The world of cinema is oftenshaped by directors influencing those who come after them. That's why I was so stoked to find this video, where Paul Thomas Anderson delves into the significant impact Robert Altman had on his own distinct filmmaking style.
It's cool to hear how Altman is a major source of inspiration, stating that Altman's unique approach is practically "ingrained in his DNA". PTA specifically points to Altman's iconicNashville as a key influence when he was crafting Boogie Nights.
I also like how PTA talked about Altman's process and how that influenced him as well. He highlighted Altman's method of encouraging actors and even extras to speak freely, creating a vibrant, sometimes chaotic, but undeniably naturalistic atmosphere on screen.
A movie he chatted about that I really like isCalifornia Split, which contains a ton of overlapping dialogue—which is cool to see but hard to duplicate when you're trying it on your own.
And trying stuff on your own is the essence of creation. Still, how do you avoid justimitating someone you love?
Anderson acknowledges Altman's deep influence but also mentions consciously tryingnot to directly imitate him.
That's a lesson I'm always struggling with -- being myself while also loving other people's work and wanting to glean from them.
True influence is absorbed and transformed, not just copied.
PTA also acknowledged hanging out with Altman, which is very cool. Especially when it comes to Altman's legacy in Hollywood.
Altman is a towering figure, and I think when we look back on PTA, we'll view him much in the same way. We're lucky to be alive at the time of these artists (or have some overlap), and luckier to be able to watch their works and read about them.
What was your favorite part of the video?
Let me know what you think in the comments.
Sundance 2025: Editor Bryan Mason on the Making of 'Jimpa'
Sundance filmJimpa is an expansive family portrait centered on the titular character, Jimpa (John Lithgow), an aging, hedonistic patriarch living loud and proud in Amsterdam’s vibrant gay community.
This post was written by Michelle Gallina and originally appeared on theAdobe blog on February 2, 2025.
Directed by Sophie Hyde, co-written by Hyde and Matthew Cormack, and edited by Hyde’s partner of 23 years, Bryan Mason, the film follows Jimpa, his daughter Hannah (Olivia Colman), and her nonbinary teenager Frances, played by Hyde and Mason’s real-life child Aud Mason-Hyde, as they navigate their complex intergenerational and familial relationships, all while discovering the pleasures and perils of queer life in the big city.
Hyde and Mason, crafted this deeply personal story together, which is based on Hyde’s father and their family. In addition to serving as the second camera on set, Mason usedPremiere Pro andFrame.io to edit the film, leveraging these versatile tools to weave 70 different flashback sequences into the story and showcase all the different eras that brought this cast of characters to their current circumstance. For this film and beyond, Mason’s motto is simple: “Make, make, make, and keep on making, each time trying to mess up a little less than the last time.”
Read on for our full conversation with Mason and an inside look at editingJimpa, which premiered at the Sundance Film Festival on January 23rd.
How did you first get involved with this project?
This is a very personal film about my father-out-law (the title he gave himself, as me and his daughter aren’t married) and our family. Sophie Hyde is my partner of 23 years, as well as the co-writer, producer, and director of the film, and as such I have known about and been involved in this project since its inception in the lockdown period of 2020.
Where were you when you found out you got into Sundance? How did you feel?
We were in the edit suite somewhere between fine cut and lock off. Sophie got a call from Kim Yutani and came back into the room with quite a smile on her face and a slightly shocked look. I felt a similar mix of excitement and shock as we were scheduled to finish the film in March 2025! However, with this very exciting invite from Sundance, it would mean pushing three months of post into one.
How do you begin a project/set up your workspace?
Each project is different. OnJimpa, I also functioned as the second camera operator, which meant I was on set for much of the shoot, from Adelaide, Australia to Amsterdam in the Netherlands, and all the way back to Adelaide. So, by the time post kicked off, I had the privilege of being quite familiar with the material. Our assembly editor was Nick Crowhurst, who I’ve worked with previously, so he put together some really solid early versions of scenes. We work, as we have done many times, with Kojo in Adelaide, and they facilitated a great post team for us and managed a very tight delivery schedule.
Tell us about a favorite scene or moment from this project and why it stands out to you.
There is a scene with six of our characters: Jim (John Lithgow), his “grandthing” (Aud Mason-Hyde), his daughter (Olivia Colman), and three of Jim's best friends (The Aunties) around a cafe table. The dialogue is sharp, often overlapping, and at times rather funny. This was a favorite scene in the script and through the shoot. When we got into the suite, however, this one turned out to be quite a challenge. There was two camera coverage and we were threading flashbacks in through an already fast-paced scene. So, it ended up being akin to a very complicated jigsaw puzzle.
What were some specific post-production challenges you faced that were unique to your project? How did you go about solving them?
The use of flashbacks in this film is extensive, and although I am not sure they are unique to this project, the sheer amount of them (approximately 70), spanning many eras and characters was certainly new to me. The exploration of how best to work these through the film was something we started early in the editing process and continued all the way through lock-off and into the sound design, composition, and mix period, to really land them. It wasn’t until we got a combination of all of these elements that the flashbacks really settled for me. I think the depth and texture they add to the film is really lovely.
What Adobe tools did you use on this project and why did you originally choose them?
We cutJimpa on Premiere Pro, the graphics in the film were generated inIllustrator andPhotoshop. We also usedAfter Effects for some simple boom clean-ups and the credit roller.
We also usedFrame.io for our international rushes management and distribution. This was very handy as the main unit was shooting in Australia and Amsterdam, so being able to send links to the dailies all over the world for investors, producers, and EPs to be able to access was invaluable. We also used secure Frame.io links to review VFX and cuts as the post progressed.
If you could share one tip about Premiere Pro, what would it be?
It's a versatile interface. If something isn’t working in a way you are used to from another software, there is likely a way to set it up so it works exactly how you like it.
Who is your creative inspiration and why?
Creative inspirations are really anyone who manages to make a film which moves you or works well. I appreciate this is quite general, but the more films I am around the making of, the more I appreciate how many things have to align for a film to really work. So, anyone who can navigate the obstacle course of filmmaking and end up with a good result is an inspiration to me.
What’s something tough you’ve had to face in your career, and how did you overcome it?
Self-doubt or critique is something I am often challenged with. I am not sure I have overcome it yet. On one hand, it seems like an essential part of the job, to keep you searching for the best version of the scene or sequence or ultimately the film. However, too much of it can see you not valuing what is good about the work. So, finding a balance to be able to appreciate what is strong about your current project, whilst still driving for it to be as good as possible, is the ideal. Still working towards that personally!
What advice do you have for aspiring filmmakers or content creators?
Make, make, make, and keep on making. Each time trying to mess up a little less than the last time. This has been my motto and will likely carry me forward through the next projects too.
What’s your favorite thing about your workspace and why?
Image Source: Bryan Mason
A couple of years back now, I transferred to a standing edit situation. This has been great for my physical health, and I recommend it. Also, our edit suite is in a studio in our backyard, so being able to access fresh air and sunshine easily is a blessing when you are deep in the edit trenches.
