Spider-Man: Brand New Day

Editors – Nat Sanders, ACE; Harry Yoon, ACE and Gina Sansom

Spider-Man: Brand New Day editors Nat Sanders, ACE, Harry Yoon, ACE and Gina Sansom join The Rough Cut to discuss helping director Destin Daniel Cretton take Peter Parker into a deeper, more grounded chapter of his story. Nat and Gina began the film together during production, with Harry joining them for the director’s cut, bringing together three editors who had each previously collaborated with Destin on projects ranging from Shang-Chi and the Legend of the Ten Rings to Wonder Man.

Directed by Destin Daniel Cretton, Spider-Man: Brand New Day finds Peter Parker (Tom Holland) fighting crime full-time as Spider-Man in a world that no longer remembers him. As Peter watches MJ (Zendaya) and Ned (Jacob Batalon) continue their lives without him, the pressure of his isolation begins to trigger a transformation he may not be able to control. At the same time, a new threat emerges in New York, drawing Peter into a conflict that also brings him together with Frank Castle / The Punisher (Jon Bernthal), Bruce Banner / Hulk (Mark Ruffalo) and Jean Grey (Sadie Sink). The film also stars Tramell Tillman and Michael Mando.

For Nat, Brand New Day continues a long creative relationship with Cretton that stretches back to Short Term 12 and includes The Glass Castle, Just Mercy and Shang-Chi. Harry previously worked with Cretton and Nat on Shang-Chi, while Gina came to the film following collaborations with Cretton on American Born Chinese and Wonder Man. Brand New Day also marks Gina’s first feature as an editor.

In our interview, Nat, Harry and Gina discuss dividing the film between three editors, working in close proximity to production at Pinewood Studios, shaping Peter Parker’s darker and more emotionally complex story, and using previews to test radically different versions of the film. They also talk about finding the right balance between practical action and visual effects, managing the reveal and evolution of Jean Grey, preserving Peter’s emotional point of view in his scenes with MJ and Ned, and collaborating with composer Michael Giacchino as the film developed through post.

NAT SANDERS, ACE

Nat Sanders, ACE is an Academy Award-nominated editor whose credits include Moonlight, If Beale Street Could Talk, Short Term 12, Shang-Chi and the Legend of the Ten Rings, The Glass Castle and Just Mercy. A longtime collaborator of director Destin Daniel Cretton, Nat has worked with him from independent character dramas through large-scale studio filmmaking. Nat received an Academy Award nomination alongside Joi McMillon for editing Moonlight and has twice won the Independent Spirit Award for Best Editing.

HARRY YOON, ACE

Harry Yoon, ACE is an editor whose feature credits include Minari, Shang-Chi and the Legend of the Ten Rings, Thunderbolts*, The Fire Inside, The Last Black Man in San Francisco, First Man and Detroit. Harry’s work spans intimate character dramas and large-scale action films, with a particular focus on maintaining performance and emotional point of view within complex visual storytelling. Spider-Man: Brand New Day reunites him with Destin Daniel Cretton and Nat Sanders following their work together on Shang-Chi.

GINA SANSOM

Gina Sansom is an Emmy-nominated editor whose television credits include Wonder Man, Our Flag Means Death, American Born Chinese, Reservation Dogs, Silicon Valley, Better Things, Love and Horace and Pete. She received an Emmy nomination for her work on Horace and Pete. After previously collaborating with Destin Daniel Cretton on American Born Chinese and Wonder Man, Gina makes her feature editing debut with Spider-Man: Brand New Day.

Visit ExtremeMusic for all your production audio needs.

Hear Nat and Harry discuss their first Marvel collaboration with Destin Daniel Cretton on SHANG-CHI AND THE LEGEND OF THE TEN RINGS.

Listen to Harry talk about cutting Lee Isaac Chung’s Oscar®-nominated film MINARI.

Hear Harry discuss his return to the MCU with THUNDERBOLTS*.

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TRANSCRIPT

Matt Feury
Well Harry and Nat, neither of you are new to the podcast, as we’ve established. You were both on to talk about Shang-Chi and the Legend of the Ten Rings, another film that you did with Destin.

Harry, you were on here last year to talk about Thunderbolts, which kind of fed into this film in a way. In fact, I think it’s your fourth or fifth time on the show. But Gina, you are making your debut here, so I’m gonna have to start with you. So I hope you’re ready for that.

Gina Sansom
Okay.

Matt Feury
You’ve worked with Destin before, most recently on the Marvel TV series Wonder Man.

Gina Sansom
Correct.

Matt Feury
But you have not worked with Nat and Harry before, as far as I can tell. So I would like to know about meeting these guys and the initial discussions you all had about how you would work together and the approach you would take to crafting the tone and the style of this film.

Gina Sansom
Well, Nat and I started off together in the film and Harry came on during the director’s cut because we had a really short schedule. It was pretty straightforward, you know, obviously I’m not as experienced and seasoned as Nat with Destin or just with features. This was my first feature.

So he was really gracious in showing me anything that I didn’t already know. So he was more the senior editor and every day we would meet and I kind of just followed his lead on what he wanted me to work on. The way we met Harry, you know, everyone already knew Harry before from previous work.

So he was an obvious choice to bring on, but I don’t think we really ever had a time where we discussed how we were going to work together or who was going to take what beyond the first week.

Harry Yoon
It was a little bit like being thrown into the backseat of a car when Nat and Gina were already there and I felt really bad because like, they were already like like already kind of rushing toward a destination and I had to figure out like where do I sit? Like is this is this my seatbelt or is this your seatbelt? I felt better like I was like because they were already like so stressed like trying to put this thing together and like I was trying to figure out like what do I take and like what part is yours and you know uh but it was great because like, they were so gracious and trying to help me figure out like where I fit in and Gina especially because we didn’t know each other.

Like we had to figure out like how do we communicate, like, which part is mine? How do I take it off of your hands? Like please help me understand like what have you done with these sequences and that what have you done with these sequences?

What have you tried already? What haven’t you tried already? And so There was a little bit of kind of like translation because obviously I had to take over some of the things that they had already been working on.

So there was a little bit of trying to make room for me in any of those types of things. But What was great was that pretty soon, particularly because like Destin is somebody that really, really prioritizes really strong collaborative relationships between everybody that he works with. He made sure that to sort of like turn around and say, okay, everybody, get it together.

You know, we’re all gonna like solve these things together and you know, made sure that we had a very, very strong collaborative working relationship. And between the three of us, we got sort of the house in order, set our responsibilities together, because we knew that we had a very, very short runway.

Matt Feury
Right.

Harry Yoon
And a lot of work to get done because we had a very, very challenging deadline before the release date. And uh yeah, and so we had to get it together. But again because Destin really, really prizes that kind of collaborative relationship. It was super fun, you know, making sure that we put our heads together, particularly to solve some of the the big challenges in telling a pretty complex story as it relates to how Peter’s changing and a lot of the complex plot twists that we had to take on to tell that story.

Gina Sansom
Yeah. What’s really nice about the fact we’ve all worked for Destin before is something that’s really prioritized and important to Destin and us. is that it’s so easy to start to have an ego and and try and really, really trust each other and not have any kind of competitiveness, I guess I’d say I feel like by the end of this film, both Nat and Harry, I would trust completely and I’d hope to say I I I hope to think they’d say the same thing, but I just feel like I would be so happy to have them take any of the things I’ve been working on for a year and improve it and run with it. Which It’s not always the case when you’re editing something with people. Sometimes you get a little, you know, cause you’ve been looking at something all day, every day for so long, it’s easy to start to feel possessive of it

Harry Yoon
Well the only competitiveness that remained Nat channeled all of it into his ping pong skills. Ping pong. That’s true. Because there was a I’m glad you said it rather I was gonna say it myself, but there’s a really vicious ping pong tournament That Nat really took the lead on and that’s because Nat and Destin are pretty amazing ping pong players and of course they were the final match and Nat emerged victorious.

Gina Sansom
Yeah.

Nat Sanders
No. It’s by default Destin. He was too busy at the end. He had to forfeit his final match.

Harry Yoon
But Nat did raise the trophy in the end.

Matt Feury
Do we have pictures of this anywhere now?

Harry Yoon
We do. We do. It is documented. And I will send you the picture of him raising the trophy at the end.

Matt Feury
Well it’s nice to hear that Destin can create a really light moment in an environment where you are under a lot of stress.

Nat Sanders
Yes.

Matt Feury
Because I have heard or I’ve read anyway, Destin say that where he wanted to take brand new day was not necessarily someplace bigger than the previous films, but to someplace deeper and more grounded, which would seem to suit an editor like you Nat, having got films like If Beal Street Could Talk and Moonlight, but rather than just going by what I’ve read, can you tell me exactly what Destin had to say to the three of you about what he wanted to achieve with this film and for you, Nat, if it tapped into any of the skills you really sharpened working with Barry Jenkins?

Nat Sanders
Yeah. And you know, some of that work, you know, as Gina has worked with Destin as well, it translates to all of his work.

You know, he and I started on a small indie five hundred thousand dollar movie together called Short Term Twelve. It was an emotional drama. And so there’s definitely a strong through line to all of his work.

So usually he wouldn’t have those conversations with us in advance. He’s sort of I think he strongly prefers to work with people that already kind of know his tone and that are gonna that he’s not gonna have to kind of fight to get in the lane of where he wants. So I think that’s why Myself and Gina and Harry, we’ve all worked with him before and I think those were I think easy choices for him because of that because he he knew that the tone part was already gonna kind of be pretty clear to us and what he was looking for.

So I can’t think of many conversations beforehand and then and it’s really just sort of a day-to-day, at least during production, a day-to-day thing of the footage coming in and just sort of being a detective and inferring what he’s looking for and and the more you’ve worked with someone, the easier and easier that gets and seeing how it progresses from take one to take five and seeing, okay, he’s obviously clearly guiding the actor to maybe a more grounded performance here because they’re going a little bit big in one and they’re definitely going quite a bit smaller in five. So a lot of us just on the in that day to day process during production and doing our best to infer things on our own because there’s not a ton of conversations that are he was always very amenable whenever we did reach out, but he was especially on these, you know, the the shoot days are long, then he’s got to go into the effect sessions for hours after the shoot’s done and he’s somehow trying to see his his kids as well, so so for the most part we’re leaving him alone unless we really need him. during production and then a week after production, once we start diving in with him, then we really start to get into those things deeper.

Harry Yoon
Yeah, I can’t think of anybody who actually does more to model that tone of being so human and so down-to-earth every day in the way that he’s just present in the cutting room I mean, in the way that he treats every single person that he works with. The story that I always tell about Destin is like you know, even in Shang-Chi, like the first big VFX review that I was in, with all these executives, like even Kevin Feige and Lou Desposito like waiting to start the review, it was like some coordinator’s birthday and Instead of jumping right in, he was just like, oh, it’s your birthday. What are you gonna do for your birthday?

And like, you know, we’re all waiting to like start the review, there’s like 30 people, and he just wants to know like what the coordinator is gonna do for their birthday. And it’s just like this coordinator is like a person, and that person has like Infinite value and we’re gonna spend a few minutes saying it’s this person’s birthday. You know, and like I think that’s the value of short-term 12, and I think that’s the value of what comes out in this version of Spider-Man.

It’s like a human level of relating to people versus the cosmic level of relating to people. And I think that’s what he models in how he treats every member of the crew. It gets kind of internalized, I think, by the people who are working on the project.

You know, whether he states it explicitly or not, when somebody’s kind of walking through the rooms acting that way, I think that kind of embodiment in some ways of how you approach story, how you approach the project, uh can’t help but kind of reverberate through the work and you know how we approach it

Matt Feury
Going deeper, as Destin was trying to do with this film, in a lot of ways means darker. And Peter Parker is definitely in a darker place in this movie.

Nat Sanders
Yeah.

Matt Feury
Whereas up to this point, the Spider-Man movies have leaned a little more lighthearted, it incorporated more comedic beats. Mm-hmm. And almost by design, these superhero movies, as you guys know, they generally leave room for additional photography at the end.

And uh Tom Holland had said that the additional photography for Brand New Day added a lot of humor and layered the villain plotline in a different way. And I’m just wondering prior to that, when you’re working out that balance of this is a darker movie, but it is a character that’s known for just being a little more lighthearted. Did you feel like you were looking for places to add comedy, or were you intentionally trying to make it sparse and keep this film deeper in service to maybe what Destin was going for?

Nat Sanders
I would say for the reshoot part, those are pretty much all kind of plot things we were trying to do. We were trying to kind of tie together some themes in a way that maybe wasn’t as clear as it could be in just what we had from production. So we so we were trying some things there.

But comedy wise, during action scenes we definitely even during production, we’re kind of going back and saying, you know, okay, we’ve got a thirty second stretch here where he’s just fighting ninjas and we’re not getting any personality at all and and so Destin and Tom would kind of find spots to add a moment of levity or a joke or a comment and you could connect to the character in the midst of this action and it just brought humor and levity to it. As we were trying things from screening to screening, we I guess we we did four. previews and we did have one where we were trying to just get the tightest version of the movie we could and Dustin to his credit really values using those previews as a chance to experiment and to learn and to keep working towards the best version of the movie and I sometimes I think about it like a comedian if they’re trying out a joke and say you try it they try it for the very first time and maybe it’s a feels like it’s like a seven out of ten.

Like it got a decent laugh, but and you could just rest on your laurels and and say, oh, you know, okay, that’s that’s good. I’ll just tighten it up a little bit, but that’s pretty good. Or you could s keep but if you if you felt like this really could be a ten out of a ten.

You’re not just gonna play it safe. You want to try going a little bolder, maybe taking out sections, adding new sections, both and and maybe there might be one where it’s like, oh that I went too far with that, and then uh that one fell flat. So uh we did have one screen where we were just trying to maybe make the tightest a tighter version of the movie than where we’d been before and we probably overcut some of the comedy in that one and we lost some too much comedy, but and we very quickly saw This movie’s not as fun as it had been in the last one, so we we put it all back.

Harry Yoon
I think so much of what was such a delight to see, particularly in what Zendaya and Tom were able to really express in this version as they were growing up. was tonal complexity. The metaphor that I was using in another instance is like, you know how like in Pixar’s Inside Out, when at the end of the movie, as the girl grows older, like the single-color globe turns into a multicolored globe as she expresses happy, sad, or angry, happy, or like these kind of like tonally complex emotions.

And I think that’s a little bit of what when Peter is able to kind of embrace This thing that he’s been trying to suppress as he matures, right? As he kind of metamorphosizes, right? He realizes that he can’t just be this thing that he saw as a monster.

The thing isn’t just monstrous, the growth that he’s experiencing, that he ultimately, as spoiler alert, he says at some point, I’m both I am this thing that I’ve been trying to suppress, but that’s the thing that also makes me complicated. It makes me strong and angry and happy and sad and all these things. And I think that darkness and the comedy is what makes Spider-Man Spider-Man.

It is both the sadness and the comedy That’s what was so amazing is to see that tonal balance and to see incredible actors like Tom and Zendid to be able to sort of like bounce between the two. And I think that’s what I it’s been amazing to see audiences like respond to is that kind of complexity, those kinds of happy, sad moments and to see them juxtaposed dramatically in the course of the film.

Matt Feury
So you three are veterans of superhero movies and stories, and you know that there is a mythology that’s built in and a connection between characters and across the MCU films and spoiler alert, I think we’re gonna say that a lot today, or we’ll just stop saying it, I don’t know. But when Punisher or Jean Gray show up There is a big part of the audience that already understands their backstories and then there’s a part of the audience that doesn’t. And the same can be true for the editors who are cutting the movie. So knowing that, do you try to immerse yourself in that history and consume as much related content as you can Or do you just say, you know what, all I need is the script, the dailies, and destin’s direction?

Gina Sansom
I am not a veteran of superheroes. I don’t think I think Harry and Nat we could say that about. I remember when I got hired on Wonderman going through and watching all of Marvel’s work in timeline order.

and brushing up on that, but of course Jean Gray falls beyond that scope. And so I do definitely try and I remember reading a bunch of the comics with Jean Gray and her origin story. But I feel like no matter how much I personally try and ingest, it’ll never be at the level and and the depth of, you know, the super fans who can critique all the nuances.

So there’s always something additional to learn. And what’s really neat about working on these projects is that everyone at work will know a different little tidbit and help in explain to us, oh, you missed this or did you not know this background plot point? So it’s so much information and story history to take on, I don’t think I could ever fully ingest it and become an expert the way so many of the fans are.

That’s my interpretation

Nat Sanders
Yeah, well another aspect is on these you often don’t see the script until two days before they start shooting. You don’t have a lot of lead time in because it’s kept so secretive and and they’re still continuing to work on it and so I think we probably didn’t know that spoiler alert, that Punisher and Jean Gray were in the movie until almost until the Dailies started coming in really.

Gina Sansom
Yeah.

Nat Sanders
So we did have like Gina said, there are some people, like our post production supervisor, Andrew Ross, really knows the Marvel world, so sometimes we would lean on him and say, Who’s this person? and How did or how do these people know each other? And so I think to Gina’s credit, I think early on we saw that when uh some of the first Frank and uh Spidey scenes were coming in, she was asking Andrew, do they do these two characters have a history together? And and he said, No, they’ve never appeared together before and and I think you helped push for a little bit more of some of that dialogue a little bit more of that Staten Island between the two of them. Yeah.

Gina Sansom
Yeah. I definitely brought it up. I don’t know if I was the only one that created that plot point.

It is a kind of a weird feeling because you know there’s information you don’t know. So you don’t want to just ask things like, I think we should have a backstory or create some kind of backstory between these two characters because there’s always a time. where I’ve put my foot in my mouth, but that was an instance I think where I was correct.

So that’s good.

Nat Sanders
But you you probably don’t have to be so well versed going in, especially if you can kind of ask questions of people around you. So say like when Banner turns into Savage Hulk. I was just working on that sequence.

I had to find out have we ever seen this version of Hulk before? And if not, then is that a big deal to to fans and do we sort of need to emphasize that or or take a moment to You know, so I think we created a little moment of Tom or Spidey kind of comment and on he’s never seen him this big before, just things like that. Then okay, we need to make a small or you know, and uh when we see Jean Gray’s name on the computer, like the the real reveal that this is Jean Gray on the computer, making sure we held on the shot long enough to make you know, and I think Gina created just a small little push in and we had it hit it with a little subtle sound effect, just, you know, things that Those moments that the audience is really gonna respond to, making sure that we’re emphasizing it the way it should be.

Harry Yoon
Yeah, I think it’s really important to have that balance because It’s so hard to tell the story within the frame as it is. Like I think we have to it’s hard enough to tell the story that we have it to tell it well and to tell it with economy, like the emotional story that we have to then have bear the burden of telling the story outside of the frame, you know, to take that on, I think would be, you know, even uh almost too much of a challenge. And I think, you know, I think just to I think to start there, particularly because to be sympathetic to all those people that don’t know the lore, you know.

Uh I I I recently took a couple of friends who who don’t watch a lot of Marvel films. And to make things emotionally satisfying for them, you know, we have to take into account all the people who come at these movies with a blank slate. And We want to be sure that they have an emotionally satisfying experience without knowing all all that backstory and to maybe start there and then Then to be able to provide all the lovely grace notes, you know, and the Easter eggs and things like that as layering on top of that.

And so I think we have to have, you know, be able to satisfy all those layers, I think, uh and to and to start with that initial challenge.

Gina Sansom
I think it’s too uh something that people are really responding to also. It’s a little bit more to e this particular film is might be a little bit more accessible because it’s not so many characters. The whole world’s not ending with a huge backstory and and I think some people might find that more approachable if they don’t have a history of watching all of the films.

Matt Feury
So Harry, when we were talking about Thunderbolts, we talked about the onset editorial that you were doing. I mean you were mere feet away from the action. So many great uh behind the scenes photos, social media posts about that. For the three of you, what was the editorial setup for brand new day? Was it the same thing where you’re right there after the side, or were you all a little more removed from production

Nat Sanders
We shot at Pinewood outside of London and Gina and I were set up a couple hundred yards from where the vast majority of shooting was on the stages there. And we would be called over as needed and head over as needed, but for the most part we were in the vicinity but in our cutting rooms, not so much onset.

Matt Feury
Well what are the benefits of that? What benefits could you realize from being onset or in close proximity. I mean, can you think of any actual examples where you or Destin said, boy, it’s lucky that the editors are right here with us in production.

Nat Sanders
During reshoots, I was back at Pinewood and for the most part I was doing something closer to what Harry did on Thunderbolts where I was cutting their on set and in that case especially when you’re trying to match things it was a lot more helpful to be nearby and and uh or if you saw like, whoa, this person’s not that I got every single one, but this person’s it’s just it’s not a physical mash, their hair or or their w and being able to rush over and and show a picture be like, no no no we’ve got it we’ve got to adjust. Um or just knowing story wise just exactly what we’re trying to accomplish with this one shot that’s gonna drop into a scene and be able to have a little bit of a dialogue with destin and just somebody else to bounce off of that has really been in the movie, knowing exactly what we want to be able to bounce things off. Okay, sure we’re getting quite what we need because We’re trying to do this and blah blah. So the same thing happened on Shang-Chi where Elisabeth and I were nearby, but not on set during production, but then during reshoots, Harry and I were were on set every day.

Matt Feury
So we talked earlier about Harry jumping in for the director’s cut. Both prior to that and in that phase as well. How did you approach dividing the project up? Was it reels, character storylines, action versus drama, something else entirely and Did that division change at all as the cut evolved?

Nat Sanders
It was mostly by reels. And, you know, Gina stayed in things that she had been in previously and I stayed in scenes that I had been from, you know, just from the assembly stage, we kinda had history with them or or with VFX, we sort of just had inherent knowledge about what was happening to those. And then for Harry, it felt to me like he had some strong opinions about the back third of the movie and and some strong ideas of where things could go. So for the most part, Gina and I kind of checkerboarded the first two thirds of the movie, mostly on reels and things that we’d been in. And then Harry took the back third was roughly how it shook out.

Harry Yoon
A lot of it had to do with some specific sequences related to Jean Gray and things like that. I had some ideas coming into it. And it was very useful, particularly from a visual effects standpoint, for the VFX team to be working with different editors on different sequences so that we could work interactively with ideas with postvis in particular.

Now postvis, just to explain to editors that might not be familiar with it, is sort of like pre-viz, but during the post-production process. And so It’s sort of like crude three D animation that we can work with artists that are literally sort of on our floor that we can sort of say to them, Can you take these primitive characters and have them do XYZ and give me that shot so I can cut it in so that I can use this wide shot that I’m missing in order to try out this particular idea, for example. And so Gina could then say, for example, on the Scorpion fight sequence, she could sort of go up to one of those post-fiz artists and say I need Scorpion to do this, this, and this with Spider-Man.

And she could try out different ideas to fill in certain moments to convey parts of story, for example. as she was working through that sequence. Because that’s a critical pivotal sequence that she’s working on where we start to understand that like these newfound powers that Spider-Man woke up with, for example.

are not turning out to be as great as we thought that they might be, and that they’re turning out to be problematic. And so because that’s a pivotal sequence, like she needs to sort of like go beat by beat and so so during that process she she can work with visual effects and sort of really refine Using all the tools that Visual Effects has to offer initially post Fiz and then obviously working specifically with that vendor and be the person that’s kind of like responsible through that process. And then I could work with the vendors that are more sort of responsible for the Jean Gray stuff.

And and then Nat was working with the vendors that were responsible for big sort of like Hulk fight sequence as they’re falling through the air, that type of thing. And that division of responsibility was really, really helpful so that you know we could be the eyes, ears and probably most importantly in something like this, the audience advocates for clarity, rhythm, pace, that type of thing, and character story, that type of thing. So we could help Destin through, you know, the really rigorous and very, very importantly.

time-challenged process of making sure that these sequences really sang in the course of the post-process.

Matt Feury
In terms of pacing and giving the audience what they what they think they want. You don’t hold back on John Bernthal’s Punisher. We get to see him and have fun with him pretty early on, but the introduction of Jean Gray, which is kind of the fulcrum of this whole movie.

You get to enjoy both sides of her reveal. You know, prior to knowing that she’s the supposed antagonist that’s been jumping into people’s minds, you get to enjoy the mystery of it all. But once you know it’s her, then it’s all about getting to know her better and watching her evolve into a protagonist.

I know, spoilers. So I feel like you can’t go wrong when it comes to revealing her when you do that. But I also didn’t edit this movie So what were your internal or destined imposed guidelines for how quickly you needed to make that reveal happen?

Harry Yoon
We kept saying This is such a weird movie. This is such a weird movie. Because the rhythms of the story are so strange because it’s exactly what you were saying.

It’s like there’s this sort of finale that happens and we kept running into it as we were sort of doing feedback screenings with the audience. like if that finale’s too big, we uh or if if if it feels too big, and if it feels too emotionally too big, we kept having to sort of calibrate that tone and that pace and to find exactly where the audience was emotionally and to also sort of make sure that where we were in terms of audience energy was at exactly the right point so that they had enough energy left for the restart of the story. And what was beautiful was that right around that time was the audience’s favorite scene, which was Peter being able to be back in a safe place with his best friends.

And there’s something about that restorative opportunity to find this kind of like home again and the audience being able to be like, oh my gosh, this feels so good. You know, before the restart of that story, in which he’s like, wait a minute, this person that I thought was my friend lied to me. And wait a minute, the person that I thought was my enemy I actually now need to save.

And the beauty of Destin being able to sort of find that with his writers to pivot and then to restart the story, I think, is the genius of what it means to be a writer-director. And I know that it took him a while to work with his writers to find that structure. And to do it while you are giving the audience this incredible gift And giving your character this incredible gift, I think is the genius of how he was able to solve that because it felt like I I know for him, I’m sure it felt like a really, really hard thing to do And I think that’s what makes this movie work so well because it is structurally a really strange structure to be able to do that.

Nat Sanders
Yeah. I think we did have in mind that Jean’s reveal is sort of the moment we don’t want to overstay our welcome beforehand to get really we want to get there. And those were sections that Gina and I were in primarily, and uh there was that one test screen where we It probably was aimed at how do we get to this moment faster?

That was part of the rationale on us trying out a tighter version of the movie and going a little too far with it And then pulling back. Most of our deleted material is in that section before Jean shows up. And so we were definitely focused on how do we get there as fast as possible.

But at the same time, you always kind of need to Destin and I learned on an earlier project that, you know, sometimes these set up things that uh early in the film that might feel like, oh, I really Yeah, how do we get through this faster? If if you pull away too much of that, then you end up it’s it’s connective tissue that you really do do need. So it’s about finding that balance and uh And that was a that was definitely part of our focus was find that right pace to get to that as fast as we can, but not not overdo it.

Matt Feury
So hearing that the power that Gina had with post-vis, or she just wanted like, I want to see Scorpion do this, go make this happen, made me want to ask about just effects in general. Obviously you have this tremendous big talented team at your disposal for visual effects. You know, Jean Gray can jump between people, provided that they’re no more than, is it thirty feet apart, I think?

Harry Yoon
Thirty-three.

Matt Feury
And so she can control them, which is it’s a really cool visual as she hops down the city streets from one human to another. There’s some terrific choreography happening And I’m assuming there was maybe an onset movement coordinator. It works so well that you almost can see this being moving from one body to another. And I wondered if that’s the kind of thing where you get to play with the timing using like animats and things like that to sort of just help that visual so that it does really you can almost feel Jean moving from one body to another.

Nat Sanders
Yeah, there were definitely discussions along the way in post of whether we needed to see any physical representation of it and we got some some mock-ups. But like you said, the onset choreography was so great that I think everyone just sort of felt like I think we just need a little bit of sound effect work on it. And I think we’re we we all felt pretty confident in it very early. But we we did we did go down the path of seeing what it would look like. And I think we all just were like, yeah, no, this isn’t this isn’t the right direction

Harry Yoon
Yeah. Kudos to Nathan Kim, our choreographer, and the incredible work of his dancers. I mean, I mean if you look at his Instagram, like he’s showing you please go look at his Instagram because like He’s showing you all the rehearsals that he and his team did.

And it’s beautiful. It’s so beautiful like to see the rehearsal camera work that they did, to plan out how the camera is going to be a dancer too, along with this work. And it’s I I remember seeing it for the first time after as part of my first screening.

And like it’s just a testament to like Destin’s commitment to in camera Stunts in camera choreography, things like that, like a non-CG, very grounded, very human approach to all these things. Like That’s why Shang-Chi looks so great. That’s why the stunt work, the fighting in this movie in Shang-Chi looks so great is because like it’s in camera.

It’s like real people doing real things. And I think That’s what almost always looks better than CG versions of stuff, so or at least as a baseline, you know, and it’s so great. It’s so beautiful.

Matt Feury
Well, an editor once said to me that great performances give an editor permission to stay in wider shots and resist unnecessary cutting. And I can let you guess who that was. And this is a deeper, somewhat darker take on Peter Parker. Did you find similar opportunities here for that same spatial restraint, or does the nature of a action superhero movie that showcases big stars compel you to come in closer and to cut more often?

Nat Sanders
Yeah, I mean it’s always scene to scene, obviously, and kind of working within where the where where is this fallen in the movie and tone-wise and and working with the performances that you do have for that scene if they really pop and are great and or if there’s some things you need to maybe help out or work around a little bit. So it’s always a dance every time of how you want to play it. But yeah, in general I remember we call her ER, uh Lisabet, who was uh along with Harry and I on Shang-Chi with us, felt like her big takeaway from that process was of what she learned on that film was that, whoa, that you don’t have to be quite as cuddy with dialogue scenes as what she had thought that so I guess Maybe it is a little inherent to Dustin that he wants things to breathe whenever they can. So yeah, so yeah, you obviously that’s probably the inclination of where we would go with it, but obviously you have to work with what you have and and does the performance allow you to do that and or not

Harry Yoon
Yeah, one of my favorite shots on in the in the film is just that near the end, you know, that beautiful shot of just of literally Peter’s brand new day. you know, of that shot of that morning where you’re just pushing in on him sitting on a beam picking up a coffee cup and just kind of lingering in a moment. And I love that there’s a contrast between that and everything that’s kind of come before. And I think that’s what Destin does so well is that he likes to sort of create kind of contrasts like that, you know, that it is sort of some of the quicker cutting that we’ve seen up to that point that allows you to sort of like Be slow and linger in that moment and that sense of peace cause he’s earned it at that point.

Matt Feury
Well I will reveal to you that that quote Came from a young Harry Yoon.

Harry Yoon
Well it’s cause we were talking about the unpacking scene in Minari.

Matt Feury
That’s right.

Harry Yoon
I love that shot.

Matt Feury
You knew it was you when I said that?

Harry Yoon
Oh well it’s because it reminded me of that shot. I loved I love that unpacking scene.

Matt Feury
Well, at least you’re consistent. All right, well we were talking about performances and and cutting. In the reunion scenes with MJ and Ned There’s this really painful emotional imbalance, right?

I mean Peter remembers everything, but they see him as a stranger. Scenes like that, your choice of reaction shots and the the importance or the weight that they carry Do you rely on things like that to help establish that imbalance? How do you approach scenes where one character is feeling the weight of the scene where the other ones aren’t?

I’ll give you extra time for that one.

Nat Sanders
For me, every time when we’re in dailies and during production and we’re putting the scene together for the first time I always reread the scene on the page before I start watching the dailies and just remind myself of what are the beats, what’s the emotion that’s happening in the scene, what is this person feeling? So yeah, so you definitely wanna I give one example I guess would be at that party scene when MJ first shows up and it’s the three of them talking and and uh he obviously has to your point like you said he has a lot more going on internally than they do because to them he’s just a stranger that showed up at the party. And uh so yeah, so in those cases you want to make sure you’re running the scene through him. He’s the important one emotionally in this scene and uh and seeing what Tom gave you and and uh And okay, this is a really great look that he gave, or you can feel the law in here, or just whatever those things are, and and just making that sort of your North Star as you’re cutting the scene.

Harry Yoon
Yeah, I I think look, anytime the way that I would translate what you’re saying, Matt, is like I I think any time you are able to give the audience a sense of special subjectivity is when they lean in. You know, I think that’s when that’s when they’re able to really feel drawn into the frame and drawn into the the emotion and the heart of what a character is experiencing. You know, one of my favorite moments in the film is when Peter’s leaving the hospital And he gets a chance, thanks to Punisher’s ruse, of literally playing Spider-Man in the window, that he finally gets to feel the crowds love, you know, without having to be Spider-Man.

And he gets to kind of sit there and feel how much everyone loves that figure. He gets to be someone in the crowd, a face in the crowd, and he gets to just linger there for a moment. And We know without him having to say a word exactly what he’s thinking in that moment because Tom Holland is giving us that performance.

And the music sort of takes over a little bit so that we can kind of enter into that subjectivity. And I think that special subjectivity that special insight is what we’re playing in that moment. Those moments when you can really tell the audience like You know what he’s thinking, right?

Like as you push into an actor’s face, like that’s what an editor lives for. You really want to set up moments where You can cut to an actor’s reaction and an audience is there right with you. And as an editor, you’re saying, you know what the character’s thinking right now, right?

Like that’s what you want to set up every time. And if you can do that, that’s when an audience leans in That’s our job is to set it up so that we can say to an audience, you’re with us, right? Like you’re with the actor, right?

You know what he’s thinking at that moment. That’s what we want to do every time.

Nat Sanders
Yeah. To piggyback on what Harry said, a big learning experience for me was came on Moonlight, where pretty early on in the process the the cut was very similar and close to what the end product ended up being and we showed an early cut to the producers and it really fell flat and it didn’t play in and again like his the DNA was probably ninety percent of what the final version is, but it just didn’t feel didn’t have the the emotion, it just didn’t feel right. And one of our producers, Jeremy Kleiner, had a great note, just like he said I think you need to run things through Chiron, like the main character’s name is Chiron.

I think you need to run things through Chiron more than you are. And especially because in this case he’s a very silent character. He’s not saying much through mo almost the entire movie So a lot of times your instinct would be, okay, well, say it’s a scene between him as a young boy, eight years old, and and the grown-ups are Maherschila and and Naomi Harrison, they’re the ones talking, so your inclination is to be play it more on the people that are talking and so Just getting that one note, like, oh, of course.

So you go back and then that scene and you base the scene on this little boy’s reaction. He’s not saying anything, but he’s feeling so much and you play run it through him and make him the the anchor of the scene and and the whole movie just sort of unlocked from there. That was a big big learning experience for me.

Gina Sansom
Something I always kind of think when I’m putting stuff together, I’m following faces, not dialogue. I think there’s a lot more communication with expressions than what’s literally being said.

Harry Yoon
Amen.

Matt Feury
Well Gina, you’re new to features, so that means you’re also new to Spider-Man. Somebody who is not new to either, certainly the Tom Holland Spider-Man movies is composer Michael Gecchino. So with him, with his work, you have three previous films to draw from, if you choose. So do you guys temp with cues from any of the previous Spider-Man films that Michael scored, or do you consciously stay away from his past work And in either case, just tell me about the process of working with him.

Nat Sanders
It was sort of a mix and we definitely did. You know, Gina and I were temping during production. He was probably the first place, at least for me, that I would look uh would be his cues, but it definitely was a mix and match of some of it was cues from his previous Spider-Man movies. Some of it was just stuff from other sources. So we did our first pass of temping it during production.

Gina Sansom
And then our music editors came on February.

Nat Sanders
Maybe a month after a month into the director’s cut. And they sort of sat with Dustin and just kinda went Q by Q and said, Do you are you happy with this temp the feeling of it or do you want to change it? And so maybe half of the cues they swapped out for something else and they were sort of setting and these were Jaquinos people who are very familiar with Gaquino’s work that work very closely with him. So they were sort of helping set the template to Jakino of what obviously not saying match this, but sort of clarifying beats, finding where in in and out points, uh shaping the cues around the emotion and all that stuff to where giving him a little bit of a roadmap and and we did have a very tight schedule with Gekino. He was on other projects and uh and so his music editors Paul and Alex really helped get us to that place where it was a very smooth runway for him to come on.

Harry Yoon
Yeah, but it was so amazing, like the e even with the tight schedule. I mean, when you I mean just listening in on some of the creative sessions that Michael and Destin were able to have together, like Michael can create in real time. So Destin would be like, oh, this is great.

That this theme, if it could do this, this, and this Michael would be like, you mean something like this? And like he would literally like like play it in real time. Like he’d like transpose it a key or like add this voice or like add but I and it’s just like it’s mind-blowing to hear somebody just recreate a theme or add different voices or recreate like a rhythm or something like that and how good it sounds not only is he like enormously creative but like being able to do it in such a short amount of time and to be so productive in such a short amount of time It’s pretty breathtaking.

And we actually got to be kind of like flies on the wall because we could peek into the recording sessions that were happening at Abbey Road and listen as he was doing his recording sessions, it was always so fun to be like, wait, who’s that in the recording room? ‘Cause he would always have visitors and stuff like that and to to listen to the score being recorded.

Gina Sansom
Oh yeah.

Harry Yoon
And it was incredible. Just the breadth of what they were recording and then, you know, just to see that score being taking shape. Um, to hear familiar themes, but also to hear the kind of innovation that he was doing specifically for this uh like you said, you know, the the darker, more mature version of Spider-Man that was taking shape through the score as guided by Destin, it was really, really fun.

Gina Sansom
I remember the first time watching down your section Harry, the in montage of the brand new day, and hearing what I thought was temp. I was like, that’s amazing. Where did you get that? What is that? And it was Jakino’s It’s kind of like an eighties, is it Synth?

Harry Yoon
Uh-huh.

Gina Sansom
He just brought such a fresh new perspective to this film and it’s just beautiful work, I think.

Nat Sanders
Yeah, and he’s a m he’s a machine for sure. But and Dustin’s really great about involving the three of us in that process as well, where I’ve certainly worked with some directors where the composers they’re they treat it like a separate relationship and they go off with them and they just sort of it just sort of gets delivered to you in its final form what it is and that definitely happens and Dustin I think respects us and wants to treat us like collaborators and I think I certainly don’t know music and it’s not like we’re giving notes on that level, but it’s more like we just another voice to say, hey, we’ve previously had been really kind of highlighting this moment or this beat. And now we’re not. Are you okay with that? And just being able to sort of bounce things off him as another voice just to make sure we’re getting just quite what we wanted shapewise

Harry Yoon
Yeah, and I just want to th really underscore what Nat said about how instrumental like Alex Levy and Paul Applegren were during the editorial process because we, you know, went through a lot of rigorous testing on the film. And as we’re testing, we’re recutting quite a bit. And we have a lot of temp score. We changed a lot of temp score. In fact, we we I’ve never seen the kind of rescoring that we’ve done between tests that we’ve had to do and to the the guys did so much heavy lifting in like basically re-scoring so much of the film between tests and things like that and the kind of work, the amount of work that we ask them to do and to do and to see it done so well um and so quickly. I mean it was it it was pretty phenomenal and you know and they they did they were like magicians so like yeah it was amazing what we asked them to do and they came through every time so yeah it was breathtaking

Matt Feury
Well, being the rock stars that you are, you should not be surprised that I have fan-submitted questions for you. Oh

Harry Yoon
Are we going to the mailbag? That’s awesome.

Matt Feury
Yes, we’re going to the mailbag for actual questions from actual fans. And the first is not necessarily a question per se, but a request that you share as much as possible as to what it was like working with stunt coordinator Pang Zheng, who you also worked with on Shang-Chi. And the second unit action team.

Gina Sansom
I love Pong. Pong is the most delightful person. Every time he enters a room he brings joy. I work with him on this and um he was also on wonder man and american born chinese so the two television shows that I worked on with Dustin before this he worked on and he’s so humble and on the shows, what we did is because Dustin obviously respects him so much, and there’s so much work and time and thought that goes into the action sequences what we would do is cut it and then bring Min Pong and give him a pass to give notes and you know there’s a lot of details or movements that I as as uh just a a viewer and a and a receiver of his footage don’t know the history of the particular moves and so I might pick a take and he would pick a different one. So it was really helpful to have him come into the room and get eyes on things before they got to Dustin.

Nat Sanders
Yeah, I mean early on in production, Destin really encouraged Gina and I to have direct communication with Pun and to really be talking with him and and bouncing things off him. And so especially I’m trying to thinking of say like the prison fight which I was in during production, the uh there was a section when he’s banged on the door and Jean’s inside that it was at the point of the fight where I think we were starting to feel like pacing wise we needed to get to it faster. So there was a Great back and forth with between Punt and I where I was he had um his we call it stunt phys.

Like he was shooting it with his team and and mapping it all out and then giving it to us and I would try trimming it down and say, How about this? Could we lose these things like, oh we re we really need This is it was a good back really good back and forth during production. And then to what Gina said, uh pretty early in the director’s cut, we brought pun into the into the edit room and just went through all the sequences as we We’re needing to cut things down, especially and just making sure that, you know, we were cutting things down in a way that that he was okay with too, that he felt good about and and just making sure take wise that there wasn’t a certain one that were really the speed or movement of it really uh spoke to him in a way that we maybe had missed and so yeah, he was really a big part of the process for sure.

Harry Yoon
Yeah, just a quick terminology thing, like stunt viz is stuff that’s done in pre-production or uh in post where the stunt team actually E sometimes before shooting or sometimes even after shooting, like they will actually shoot the stunt as a reference before shooting the stunt during production. So they’ll take their video cameras or phones, and they’ll say this is the angle that we think the stunt will look the best. And they’ll actually perform it with wire pulls, camera movement.

fake guns, they have like bunch of foam walls and things like that. They’ll crash through foam walls. They’ll crash through cardboard.

It’s the coolest thing. It’s like watching like someone’s like backyard home movie of the stunt before it happens. It’s super fun.

And we like differentiate it, we call it stunt viz to differentiate it from pre-viz, which is usually done with uh CG characters. Yeah.

Gina Sansom
Great way to feel intimidated is watching person like, oh God, how did they do this? Yeah, yeah. They’re doing all of this work.

Nat Sanders
Yeah.

Matt Feury
All right, so on to Superfan question number two. This is a longer one. Are you involved with framing and composition decisions when finishing both aspect ratios that are shown in theaters?

Superfan goes on to say, it looks like most of the shots are composed for two three nine. But you found ways to master one nine for screens that can’t mask for scope. You follow all that?

Nat Sanders
Yeah. That’s that’s very astute. It was it was shot for two three nine.

Matt Feury
Yeah.

Nat Sanders
And yeah, no, we’re definitely very we’re definitely there for for all of the DI uh as well. And uh it was probably more the two three nine to that point was is what it was shot for and there weren’t many issues at all with the two three nine. Obviously we’ll resize shots as they come in if there’s something you’re trying to frame out or just whatever something compositionally that could be slightly tweaked, but for the most part with the two three nine we work overly messing with it, but the one I know did need some adjustments if there were things at the bottom of the frame that you weren’t really supposed to see or that now the way we’ve cut it it created a a continuity issue or I know that for me, uh uh when uh at the beginning early in the Hulk fight, uh Spidey’s climbing on the ceiling and he pops pops his head down.

And he sees something that we the audience don’t see. In the 239 you don’t see it, but in the one I know we had to make sure that we were we wanted to be as wise as we possibly could without seeing Jean’s head popping into it because it was still a few shots later that we wanted to reveal her being there. Those kind of things.

Harry Yoon
Yeah, and these are all obviously the buck stops with Destin and these are negotiations with, you know, we we all do it together with uh Brett Pollock, the di the DP, and with Destin, but the buck always stops with Destin.

Gina Sansom
Is this your first film where the whole film is released in both aspect ratios? Because I think we had a conversation. We didn’t think that the whole thing was going to be 190 as well, did we?

Harry Yoon
This is probably the first where it was released flat. The flat was released in both, yeah.

Nat Sanders
Mm-hmm. Yeah, I think so too.

Matt Feury
All right, so we have a lot more things that we could cover. But there’s two more questions I want to make sure to get in. And the first is that Since editing is the invisible art, what is one editorial choice you each made in brand new day that viewers will never consciously notice, but you know is doing a lot of emotional narrative or action work? You can also interpret this as what’s your favorite thing that you cut?

Harry Yoon
That’s a great question. Yeah. It’s a tough one.

Matt Feury
Wait till the next one.

Harry Yoon
I think the favorite thing that I I got a chance to cut was probably the VMAX reveal. Because It was the thing that kept evolving and was probably the biggest challenge editorially because it’s so internal ultimately. It’s such an emotional reveal For the character, because it required a external visualization of something that is ultimately so internal, which is a realization.

That something that she’s been searching for is so absurd. Is so sad, and not only does that realization have to be shown, but that it creates an internal almost a kind of break And that break results in a expansion of powers. And Showing all of that and leading building up to it is a pivot point for this character that has to feel very significant.

And all of those things are very kind of like internal concepts that require exposition, but not too much exposition. And a lot of that isn’t set up in the movie at all. And so like I think having to communicate that in a way where it doesn’t feel like were at a lecture board, but also feels very emotional, was a really, really challenging thing, but I think was one of those things that ultimately I think was the right balance of emotion and information and uh I think was one of those things that felt ultimately Most importantly, emotional and s and I think satisfying uh and mysterious.

And I think that was uh for me one of the most satisfying sequences uh to to to work on

Matt Feury
That’s a good answer.

Harry Yoon
JM, do you have yours ready?

Gina Sansom
Nope, you go.

Nat Sanders
Uh trying to think. Well Probably my favorite spot that I was in in the film was probably the rooftop scene uh where, spoiler alert, where uh MJ tur MJ turns and you realize that she’s being inhabited by Jean down through kind of Jean’s reveal down in the car and sh as she talks through the driver down there. Uh that was a a ton of fun.

Um but I guess maybe one of the prouder spots would be in these films, you know, there’s with action scenes you it’s often in these case in these films at at first it’s too much of a good thing and so uh with Hawk fight I think the first time we screened it, I think it was fifteen minutes from start to finish and it was it was too much. It was too much of a good thing. It was too long, too it felt a little bloated.

I think we got it down to eleven minutes and finding ways to pace it up that much, but to keep everything that that we love and that really works and and in that case we also did a quite a bit of clarifying of Spoiler alert, uh when is Jean inhabiting Hulk and when is she not? And and so between having to really cut that down a lot and do a lot of clarifying as well, that’s probably one of the ones I’m prouder of in the film.

Gina Sansom
Um mine will be very, very simple. Mine’s a very simple one, but it goes back, I guess, probably to something I try and tell myself all the time and remember about when you’re putting something together and you’ve got so many different angles and options. you really can’t be thinking, what does the director want?

To some extent you are, but it’s impossible to get in someone’s head. So you really have to just go with your own instincts and My favorite scene is probably when we arrive at Punisher’s dry dock, the booby trap through the two of them the banter between Spider Man and Frank when they arrive and he’s asking to come in and have MJ stay there. It always feels good when you put something together in your assembly and it kind of just stays that way.

That’s always a a confidence builder. Um but I remember at one point us talking about there’s a shot where Spider-Man has turned around and they’re arguing and talking over each other to MJ, and there’s a shot in a wide where you see Spider-Man kick and he’s just you know talking to certain is kicking. I always had it in the wide and at one point I remember there was a conversation about we should be in a close up on that or a medium And I remember saying like, no, if you force us to look at that, it’ll lose its humor and just having the confidence and the observation of that and saying that to your director and them agreeing, it feels really good.

That’s that kind of stuff when that happens. is a wonderful thing. So I think that’s my favorite little and it’s funny.

I always like putting together comedy. So that’s probably my favorite scene

Nat Sanders
I think that’s Dustin’s favorite edited moment of the film. Yeah.

Gina Sansom
Oh good.

Nat Sanders
The way Gina Cut, Frank and Spidey arguing and and MJ’s just sort of silently listening. When we had our first assembly watch, Destin cracked up during it and immediately after it was over, I think one of the first things says, Who cut that back and forth between and I said that was Gina? And he’s like, Yeah, he’s he loved it. Yeah. It’s great, yeah.

Matt Feury
Those were all great answers and and great moments, and we’ll see if you have one more great answer in you. You know, in this in this movie, something as simple as a coffee cup is evocative of a person in a past relationship. In this case it’s the coffee cup, which is at one time filled with coffee, that MJ gives to Peter at the end of the previous film after she no longer has any memory of him.

And Peter keeps it close to him, and when MJ finally sees it, it brings back memories for her. So I think I might know the answer for one of you on this after the open of this interview, but what is the one thing that, if left behind in the cutting room by any of you, your co editors would say, Oh, I can tell Harry or Gina or Nat was here. I want you to answer for yourselves, but also be prepared for your co-editors to give their own suggestions.

Nat Sanders
That’s good. You mean something that has the most kind of that person’s imprint on it or is most of their stuff and their voice?

Harry Yoon
Oh I I have one for Gina. It’s definitely a wrapped package with cookies in it. Because Gina loves cookies so much.

And she’s always giving gifts to people. So if I ever saw a wrapped package of cookies, I would know Gina was definitely in the cutting room.

For sure.

Gina Sansom
Okay.

Harry Yoon
For sure. Yeah.

Gina Sansom
Are we gonna talk about editorial little stuff? Yeah.

Matt Feury
No, Harry got it. That’s the idea.

Gina Sansom
Actual stuff.

Matt Feury
Yeah. Something that you would say, oh oh that’s that’s so that’s so Nat.

Harry Yoon
For Nat it would be it would be his ping pong trophy.

Matt Feury
Well there you go. Oh yeah

Gina Sansom
Nat for me would be um he’s a fidgeter. So he always has like a pen or something you’re clicking. Yeah.

Nat Sanders
Yeah, a previous director gave me some fidget toys that I really like carrying with me.

Gina Sansom
And Harry um has a lot of really he he definitely is somebody who has a nice atmosphere in his room. My room is always as sterile as the day I got it. and like ceiling lights and just like whatever. But Harry, you know, makes a nice atmosphere in his room for sure. And has a lot of little um trinkets from every project he’s worked on.

Matt Feury
So nice. That is true. Harry is a vibe.

Gina Sansom
Yeah, Harry is a vibe. That’s a great that should be yeah bumper sticker. Harry is a vibe.

Harry Yoon
In my room.

Gina Sansom
Yeah.

Nat Sanders
Yeah, mine would probably be food related for both of them as well. For Gina, the snacks and treats that she would give us, which very thought and brought back from England in some cases for us, which is very thoughtful. And for Harry, I think he’d be okay with me calling him a foodie.

And he likes to have a strong say in where the lunches are and in his in a good way. Yeah. Yep.

And and wants to treat it. Ideally, we didn’t get a chance to do too many times on this with our schedule, but ideally treat it like a group meal and and or a chance to have one-on-one sessions to get to know people better. Uh we just didn’t have the time for it on this one.

But I’ve seen that from him before

Gina Sansom
You know the expression or the thing that’s like um if something’s worth doing, it’s worth doing well. I feel like that’s Harry. Everything he does has detail and like nothing’s half-assed, you know for sure. So he will make sure that lunches are amazing and and even like the littlest thing like a a sad, sad snack is gonna be delightful and top notch, I think. That’s my takeaway on Harry.

Harry Yoon
Matt, it’s funny that you talked about a coffee cup because that was our rap gift for our crew.

Matt Feury
Oh, cool.

Harry Yoon
We ordered ceramic coffee cups, New York coffee cups shaped like what Peter had, and we left notes for our crew in them.

Gina Sansom
Which was Harry’s idea, which is an amazing idea. But even Harry went so far as like he’s so again, going back to what I just said, like detail oriented on everything he does is a hundred percent where he’s like, you know what we should do? We should get we should write notes online paper.

and fold it just so I was a little folding assembly line uh to make it look like the note that he wrote that Peter wrote to MJ. And it was a big hit. Everyone loved them.

Great idea, Harry.

Matt Feury
Yeah. Yeah These were all great answers, all good things to be remembered for. I think something you’re all going to be remembered for is making a great big fun movie.

So congratulations for that. And since you brought up lunch, I think it’s lunchtime. We’re all starving, so I better let you go.

But thank you so much for doing this. It was a blast.

Harry Yoon
Thank you, Matt. It’s always fun. And uh thanks to your audience for all the awesome questions

Gina Sansom
Totally.

Harry Yoon
Mailbag.