By the time Aniston arrived 30 minutes late, a producer had expressed worry to Wassermann. As editor Nick Moore (“Love Actually”) took over editing duties for the film in Los Angeles, Wassermann stopped working on the project so Bogdanovich could attend the assembly on the west coast and not feel obliged to stay with his son-in-law.
Before Embarking on a New Project
Moore spent a few weeks editing Bogdanovich’s film, which he remembers as a “wonderful period.” He described it as “as hard as ever,” but not “monstrous.” According to him, “I can’t recall ever being upset” with Bogdanovich. Fireworks were occasionally let off, but he seemed to relish them. For him, it was a way of life.
Director Peter Bogdanovich corresponded with Peter Tonguette, an occasional contributor to The Times and the author of the book “Picturing Peter Bogdanovich,” during the film’s production and viewed a total of ten portions. “A committee approach” is how Bogdanovich described the editing process, in which he chose to “be part of that committee,” even if he despised the alterations.
Bogdanovich’s Last Screenplay
Since Bogdanovich’s last screenplay and directorial debut, Tonguette recalls, Tonguette was surprised to see one of his fiction films in theatres. “I think he felt like it really affected him in the industry,” he added of Peter going to war with studios in the past. On a grainy and watered-down level, Bogdanovich offered Tonguette specific notes on how to fix the film as recently as May 2014. “A compromise hit is better than no hit at all, so he wasn’t going to quarrel with the movie,” Tonguette said, even if it wasn’t the movie he created and shot.
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As soon as Kenney saw the “Squirrels” cut, he knew it was different and better than the original. Even if the film gets four stars or three stars, the actors and actresses involved are all “four star talent,” according to him.