Get ready to step into the editing room and discover the creative dynamics behind the movie, K-Pops!.
In this interview, acclaimed editor Ryan Folsey shares insights into the art of cutting a music-driven film, the challenges of capturing the electrifying energy of K-Pop, and the collaborative dance between editor and director that brings a captivating story to life.
Let’s dive in.
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No Film School: How did you get involved with K-Pops?
Ryan Folsey: I was lucky enough to secure a Zoom interview with Anderson .Paak back in August of 2023.
I knew he had met with quite a few other editors, so I was hoping I wasn’t too late. I am a big fan of his music, so I was a bit nervous, but when we jumped on the Zoom it was like I was talking with one of my old friends. I told him that I really loved the script, the whole K-Pop dance competition, multiple locations, family aspect, and most importantly, the film’s heart.
Although Anderson is well versed in directing music videos, he was a first-time feature film director, so I assured him that my sole purpose was to help him bring his creative vision to life and shepherd him through the entire process. I also knew he was wearing multiple hats (director, actor, writer, musician) and that he would have to have someone that would be making sure the edit rolled along smoothly so that he could focus on all the other tasks.
Halfway through our interview, he said, “Oh yeah, I think this is it. Let’s do this.”
NFS: How did you approach the creative process and collaborative dynamic, particularly when working on K-Pops with first time director Anderson .Paak?
Folsey: Knowing we had a tight timeline with several big dance numbers, I was also able to bring in my editing partner Joe Frataccia to help. We set up the cutting room “Theater-style” (Avids in the back of the room with couches and monitor in the front), so when Anderson finished his day of shooting he could come by, sit down on the couch and watch cuts.
He was really happy with where we were going in terms of style, so that was reassuring moving forward. Anytime he was unable to make it in, we would send him cuts on PIX, and he would respond at all hours of the night so we could hit the ground running the next day and do our best to keep up with the camera.
NFS: Can you discuss any particularly memorable moments or challenges during the pre and postproduction process?
Folsey: One of my favorite moments was when he came in to watch the opening dance number of the WildCard K-Pop competition show. There were many setups, multiple cameras and around 30 plus dancers with complex choreography. Knowing that singing and dancing are Anderson’s specialty, let’s just say we were a bit apprehensive. Anderson came in with his producing partner Jonnie Park, and after the scene was over they jumped up screaming and hugging us.
I think it was from that point forward that we managed to gain their trust, realizing that not only can we make the comedy work and deliver on the emotion, but we could also nail down the complex dance sequences.
NFS: How has your background and previous work influenced this piece?
Folsey: I feel that having worked in so many different genres (horror, action, comedy, drama, hybrids and animation), I can never truly get pigeon-holed. That’s something I have been striving for since I first began editing.
My father edited Animal House, Blues Brothers, An American Werewolf in London, as well as Michael Jackson’s Thriller, and I felt that I too, wanted to be able to work in all of those different genres. My father’s influence definitely impacted my career, and I’m so blessed to be doing what I love.
Author: Jason Hellerman
This article comes from No Film School and can be read on the original site.
