Creating Cologne: Meet Editor Bradley Furnish


It takes a village to make a film. Even when it is short.

Today we want to introduce you to our incredible Editor Bradley Furnish. Bradley is one of those multi-talented fellows who seems to be able to handle anything you throw at him. I first was wowed by his work through a series of posters he designed decorate his team’s editorial pod. Years later I asked him to help us wrestle 9 hours of interview footage into something heartfelt and touching (“It Gets Better” — Love, Pixar) that has been loved by over a million people.

I could keep gushing but instead I’ll let him speak for himself.
– kyle

3 QUESTIONS WITH EDITOR BRADLEY FURNISH

What attracted you to working on Cologne?
Brendan and Kyle approached me with Cologne in the spring of 2012. Brendan pitched the story, delved into his inspiration and gave me a detailed run down of the shoot. I knew right away that he and Kyle had found a unique way to tell a compelling story and I was in.

A Dolly Parton inspired, choreographed narrative was the type of storytelling and performance that I had never worked with, and I knew that it would be challenging in the best ways possible. Having worked with Kyle on Pixar’s contribution to the It Get’s Better Project, I trusted that we would have a great team dedicated to get the film finished.

How does storytelling with dance differ from traditional narratives?
It’s easy to assume that a choreographed dance would be easy to cut together, but I found that working with Brendan’s choreography and Dagmar’s coverage gave me infinite possibilities. There were moments in the dance that were meant to line up perfectly with the music and other pieces of the performance that stood on their own. We spent many hours in the editing suite finding where we needed to reinforce the choreography and where we needed to explore the footage and manipulate the dance.

Balancing the dance with the narrative scenes added an additional layer of complexity to the rhythm of the short as a whole. That’s not something you run across in most narrative editing, and a lot of the traditional rules of editing could be bent or broken in service to the dance.

What are you working on now that you are excited about?
I’m currently editing a narrative short called Dam Keeper, directed by Dice Tsutsumi and Robert Kondo. It’s a 2D animated piece with a fantastic story and a visual style that is an absolute marvel to see. We are currently in the throes of production, and it’s an absolute pleasure to keep up with the talented animators and painters working on the picture. Dam Keeper is gearing up for a fall 2013 release.

Bradley & Brendan after we finished our mix at Skywalker Sound!

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