“Action sequences are an art form.” In the editing room with Elísabet Ronaldsdóttir
Icelandic film editor Elísabet Ronaldsdóttir is fast becoming a legend in the realm of action cinema, with credits including John Wick, Atomic Blonde, Deadpool 2 and Marvel’s upcoming Shang-Chi and the Legend of the Ten Rings.
In light of Atomic Blonde’s network premiere on Channel 4, we took the opportunity to pick Elísabet’s brains on her aesthetic, approach and why filmmaking is like football.
What was your path to becoming an editor?
After graduating from London Film School, I worked in Iceland, dead set on conquering the art of cinema photography. I did not follow the proven path to becoming a film editor through assisting. I got pregnant and, given the circumstances, dived right into editing where I got hooked. There was no return.
I found a foothold in Hollywood after editing Contraband, an American remake of an Icelandic film I edited earlier; Reykjavik-Rotterdam. I’ll never forget the moment when I added the Universal and Working Title logos in front of the final cut of Contraband, got myself a coffee and watched it run with the sound blasting, it was thrilling.
Is there a formula for editing together an action sequence, or does your approach change with every film?
The only formula needed to edit action is the constant teamwork, not least with the choreographers. Action sequences are an art-form, an alpha dance. Of course, my approach changes with the choreography and how it’s filmed but I aim to be precise. Unless there’s a good reason for it, I do not enjoy repetitive beats.
John Wick was the first pure action movie I edited. It was highly educational to work with directors that are so passionate about the genre. It was on the wings of precise choreography, extensive training and well thought up shots that I was able to edit John Wick as it is.
Where do you begin? And how does that differ if a director has a storyboard or something specific in mind?
I always begin work on a movie by reading the script, often several times, looking at storyboards and talking to the director, a lot, trying to get his/hers vision clear in my head. Then I work with the material that is filmed. I can’t edit what was not filmed but there are chances to bend the material to stay true to the story and a director’s vision.
I only return to the script or the storyboards if I run into trouble with the storytelling. When it comes to action, you often need to work around obstacles that arise, like the crew running out of time, or for different reasons, when certain beats feel unsatisfactory. We work as a team to find a way around these things and solve all the minor problems that inevitably arise.
Are there any techniques you use to create greater anticipation or impact?
My two most important techniques are first to be true to the material and then to make sure the audience is not ahead of us in the storytelling. The audience brings an important part of the story to the movie theatre: their brains.
More than often this entails editing out dialogue, that might be necessary to the script, but becomes redundant after going through the filming process, after actors and crew have added their magic. I try to be as precise as possible.
In a fight-scene, in order to create greater anticipation or impact, we do have all kinds of tricks up our sleeves, such as cutting out frames, speeding up or slowing down the material. Increasingly, we also make use of visual effects.
My absolute favourite is working with filmmakers who put their heart, soul and time into the process. This is what allows the rest of us to stay in tune with the actors/dancers/fighters and to enjoy the choreography.
Action sequences are known for being fast-paced and hyperactive, does this characterise your style? And if not, how would you describe it?
Making movies is like playing football, you don’t do it alone. You are never stronger than the weakest link. I’ve been lucky to work with the best directors, choreographers, stunt people and DP’s who are passionate about action and highly professional.
I have worked with producers who understand what it takes and accept training and practice for months, mapping the scenes with pre-visualisations before any action sequences are shot. The only thing that can describe my style would be that kind of collaboration and respect for the material shot.
Can you talk us through the edit of the apartment scene in Atomic Blonde, which has quite a lean, but almost sensuous aesthetic?
Technically, the Atomic Blonde sequence is made up of nearly 40 separate shots. The idea came from producer Kelly McCormick and it’s a testament to David Leitch’s talent that he brought all department heads together in close collaboration.
We shot it chronologically and tested every edit before going on to the next shot. Inside the building there are only a few VFX assisted edits and most are straight cuts. Outside in the car we had to rely heavily on visual effects. Every shot had to be rehearsed and directed as we could not edit within the shots, for example making a pan in order not to lose the tension or story.
This was probably the most amazing cinematic experience I’ve been a part of, participating in the remarkable teamwork needed to achieve David Leitch’s vision.
How does the tone of the film, e.g. the comedic element of Deadpool 2, affect your approach?
Every film has its own pace, heart and tone and it always affects one’s approach. Comedy makes fighting tricky because you can’t go too dark as you don’t want to lose the laughter.
It was not too difficult in Deadpool 2 because it was easy to add dialogue to that masked face of Deadpool to brighten up the mood and/or play music that does not traditionally accommodate fight-scenes.
What do you love most about working on action films?
I truly enjoy the freedom and fun that the action movies I’ve worked on have brought me. I’ve been lucky to work on them before action became fully mainstream. Being surrounded by Kings and Queens of action, I’ve been allowed to play around a lot with pacing and story.
Working closely together is inspiring and the exchanges bring many, oftentimes crazy, ideas. That’s what filmmaking is all about and it makes me feel privileged to be a part of that. I’ll always be grateful for the opportunity.
Atomic Blonde will air on channel 4seven at 9pm on Thursday 9th January.
