She also focused on the nuances of each performance in a given take among the talented ensemble (Caitríona Balfe, Judi Dench, Jamie Dornan, Ciarán Hinds, Colin Morgan, and newcomer Jude Hill).
Editor Úna Ní Dhonghaíle utilized a psychological approach, keeping the subjective point of view alive through use of sound, music, slow motion, or reflected images or faces seen through glass. It’s about the close-knit family and neighborhood community amid the violent conflict between Catholics and Protestants in 1969. With “Belfast” (Focus), Kenneth Branagh meticulously planned the coverage for his monochromatic childhood remembrance with cinematographer Haris Zambarloukos, composing many moments in one shot. Walker achieved an editorial breakthrough when inserting the medieval chant from Hans Zimmer’s otherworldly score to demonstrate how Paul summons the inner strength to pass the test. It all came together early on in the pivotal Gom Jabbar scene, in which Paul’s special mental abilities and impulse control are put to a deadly test by the Bene Gesserit Mother Superior (Charlotte Rampling). Rhythm and pacing were delicate yet enhanced by Walker’s expertise with sound and score. Added to this was the extra narrative layer of Paul’s prophetic dreams and visions of leading the nomadic Freman in a holy war on the desert planet Arrakis. And the impact of COVID-19 and the cultural cry for unity add a sense of urgency to these stories and their particular structures and cutting styles.ĭenis Villeneuve’s ambitious “Dune” (Warner Bros.) provided go-to editor Joe Walker with the challenge of coalescing the epic scale of the political and religious machinations with the intimate personal journey of would-be messiah Paul Atreides (Timothée Chalamet). This season’s prevailing theme is about playing with time both literally and metaphorically.
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