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The Man Who Make the World Funniet People

ven Funnier
http://nyti.ms/1GJWMIj

A comedie ecome increaingl improviational, the need an editor like

rent White to ew them together.

JONAH WINR

APRIL 15, 2015

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MelissaMcCarthy,herhandstiedbehindherback,writhedonthedingy
basementfloorofanabandonedpowerplantinBudapestgrunting,
shriekingand,despiteherbestefforts,laughing.Letmetrythatagain,she
said,attemptingastraightface.McCarthywasshootingScene114inSpy,an
actioncomedythatwas,inApril2014,partwaythroughitsfirstweekof
production.AfewfeetawaywasthedirectorPaulFeig,wholikestofeedactors
newlinesofdialoguefromjustoutsidetheframe.FeiggaveMcCarthya
breakthroughensembleroleinBridesmaids(2011)andlatercasther
oppositeSandraBullockinTheHeat(2013).InSpy,McCarthyisthestar,
playinganunlikelysecretagentcalledSusanCooper.InScene114,Susanhas
beenapprehendedanddumpedinthebasementalongsideanothercaptive,
namedAldoadisconcertinglylibidinalallywhokeepshittingonSusan
despitetheirdirecircumstances.Thescenebuildstowardsomeexquisitely
clumsyphysicalcomedy,asSusancommandsAldotohelpuntieher,even
thoughheisalsoinknots,inauguratingagrabbyballetandcreatingnumerous
opportunitiesforAldotosaysleazythings.
Action,Feigcalledout,beginningtheumpteenthtakeoftheuntying
sequence.Aldo,playedbyPeterSerafinowicz,shimmiedupbehindSusanand,
pressinghisboundhandsenthusiasticallyagainstherbackside,gottowork.
Theknotandyourhandsareabouttoentermycolon!McCarthy,asSusan,
protested.Feig,breakingin,suggestedaresponseforSerafinowicz:Trust
me,ifIwasthatclosetoyourcolon,youwouldbescreaminginecstasy.
Some72hourslaterand6,200milesaway,theeditorBrentWhitewasat
aproductionfacilityinBurbank,Calif.,guffawingashewatchedfootageofthis
exchangeona22inchreferencemonitor.Whiteisnotaparticularlyfunny
person,buthehasoneofHollywoodsmostfinelyattuned,andhighlyvalued,
sensesofhumor.Hisfirstcomedyjobcamein2000,cuttingthetreasuredbut
shortlivedNBCsitcomFreaksandGeeks,whichFeigcreated.Whites
careercoincideswiththeriseofimprovisationasatechniquecentralto
Hollywoodcomedymaking,andhisadeptnessatgivingshapeandrhythmto
wildexcessesofoffthecuffmaterialhasputhimatthefrontofhisfield.
Whitesrsumencompassessomeofthebestlovedfeaturecomediesofthe

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lastdecade,startingwithAnchorman,in2004,whichhecutforthedirector
AdamMcKay,whosubsequentlyhiredWhitetoeditTalladegaNights,Step
Brothers,TheOtherGuysandAnchorman2.Mostofthesefilms,like
FreaksandGeeks,wereproducedbyJuddApatow,who,inhiscapacityasa
director,hashiredWhitetoassemblenearlyallofhisfeatures:The40Year
OldVirgin,KnockedUp,FunnyPeopleandThisIs40.Apatowcould
haveusedWhiteforhisforthcomingcomedy,Trainwreck,butFeig,wholast
hiredWhitetocutTheHeat,sweptinfirstandlockedhimupforSpy.As
Feigputit,JuddandIfoughtoverwhodgetBrent,andIwon.
Whiteworeglasses,atanplaidshirtandloosefittingbluejeansfaux
snakeskintrimonhisbeatupConverseAllStarsgavehisensembleitslone,
discordantelementofflash.ManipulatinganeditingprogramcalledAvid,he
skippedbackwardfromthesequenceinwhichAldountiesSusantoanearlier
sequenceinthesamescene,inwhichAldopraisesherabilities.Itwasan
importantpointinthedevelopmentofhercharacter,andonethatthefilm
playedmomentarilyforitsinspirationalqualitybeforetakingafunnyturninto
fatalism.Asscripted,thepeptalkendslikeso:
SUSAN:Ididdoagoodjob,didntI?
ALDO:Verygood,yes.Youwillgetthemnexttime.Pause.Unlesswe
diehere.Thenyouwillnot.
Serafinowiczdeliveredthiskickerwell,blasashepulledtherugoutfrom
underthefeelgoodmoment.ButFeig,sensingabiggerlaughafoot,setthe
actorsloosetoexplore.Serafinowicztriedyetanothertonalswerve,thistime
fromthemacabretothepervy:Unlesswediehere.Inwhichcaseitwouldbe
myverygreathonortobethelastmantoejaculateonyou.Oversubsequent
takes,hemodifiedthiscomeon:...itwouldbemyverygreathonortodie
insideofyou...itwouldbemygreathonortobethelastmantotouch
yourbosomandsoon.
Whitesatforwardandgottowork.Icutrightbehindthedirector,he
explained.ThedayaftertheystartshootingisthedayIstartediting.
Whitesartisticchallengebeginsasanorganizationalchallenge.Ashe
watchedadozenorsotakes,rootingfortruffles,heconsultedadigitalcopyof

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thescriptthatwasopenononeofhiscomputerscreens.Immediatelytothe
rightofAldoslineswereseveralbluedots,eachoneindicatinganalternate
readingthatSerafinowiczhadgiven.BeforefootagemakesitswaytoWhites
desk,twoassistantswatchitall,transcribingeverylastbitofimprovintothis
digitalscript.ThismeantthatWhitecouldsimplyclickonabluedotand
summonupthecorrespondingfootageofSerafinowiczvamping.
ImprovisationhasinflectedfeaturecomedyasfarbackasKeystone
Studios,andithasbeenagenrestaplesincethelate1970s,whenimprov
troupeslikeSecondCityandtheGroundlingsbecameunofficialHollywood
farmteams:ThinkofJohnBelushispontaneouslyimpersonatingapimplein
JohnLandissAnimalHouseorBillMurray,inHaroldRamiss
Caddyshack,makinguphisCinderellastorymonologueashegoes.Butit
wastheinnovationofcontemporarydirectorslikeApatowandMcKay,
buildingontheworkofforebearslikeRamis,BarryLevinsonandChristopher
Guest,topushthingsfurther,shootinghoursandhoursoffootageeachday
andencouragingentireensemblesasopposedtojustBelushiesquelone
wolvestomeanderoffpencil,keepingthecamerasrollingandseeingwhat
happens.Ivealwaysbeenabigproponentofgettingasmanyoptionsasyou
canget,Apatowtoldme,explainingthatthisinclinationstemmedfromhis
experienceasacocreatorofTheBenStillerShow,intheearly90s:Bendid
anenormousamountofimprovisingeverydayshootingasketch,then
doinganother30minutesofstuffhecouldhavesaid.
WhenApatowandMcKaybegandirectingmovies,theyusedatechnique
thatothershaveadopted:Theyshootasceneonceortwiceaswritten,then
subjectittoanumberofimprovisedvariationsinwhichtheactorsdeliver
linesofalternatedialogue(alts)thateithertheydeviseorthedirector
supplies.Withthiswayofworking,scriptsbecomeradicallyprovisional,and
burstsofimprovbecomemuchmorethanroadsideattractionsaswasthe
casein,say,GoodMorning,Vietnam,wheremanicmontagesofRobin
Williamsriffingrepeatedlygroundthestorytoahalt.MikeSale,aneditor
whosecreditsincludeGetHard,Bridesmaids,NakedGun33and
TommyBoy,saysthatimprovwasnowherenearaspervasiveearlyinhis

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careerasitisnow:Themodelwasgetareallytightscriptandhopeyouhad
enoughjokesthatworkedfor90minutes.Today,directorswhoembracethe
altheavyapproachincludeNicholasStoller(ForgettingSarahMarshall,
Neighbors),RawsonMarshallThurber(Dodgeball,WeretheMillers),
PhilLordandChristopherMiller(theJumpStreetfranchise)andonandon.
WhitebegandevelopinghisparticularapproachbackonFreaksand
Geeks,whichfeaturedagoodamountofunscriptedplayfromtheactors,
albeitlessthanthefilmshehassincecut.Hepointedatthebluedotsonhis
screen,which,thankstohisassistantslabor,hesaid,indicatedanything
thatsuniqueorthesameintheperformances.Gesturingatanotherwindow,
headded,Herearealltheoptions:offcamera,oncamera,twoshot,oneshot,
wideshot,ontheirback.Icangothroughitall.Imnotscanningthrougha
takebackwardandforward,lookingforsomething.Hesheardofother
editorsimplementingmethodssimilartohis,andhesaidthatcolleagues
sometimescallhimfortips,buthebelievesthathiswayofworkingremains
rare.Earlylastyeartheeditorsof22JumpStreet,KeithBrachmannand
DavidRennie,foundthemselvesburiedbeneathreamsofimprovisedfootage
andrealizedthattheycouldntcompletearoughassemblyofthefilmina
reasonabletime,Brachmanntoldme.SotheybroughtonWhiteasacleanup
man,andfor10weekshehelpedthemtodigout,andburnish,laughs.IfLord
andMillerhadhadhisbackendinfrastructureinplaceon22JumpStreet,
Whitesuggested,theymostlikelywouldnthaveneededhim.
TheriseofHollywoodimprovwashelpedalongbytheriseofhighquality
digitalmemory,whichisfarcheapertoburnthroughthanfilmandwhichcan
sustainasingletakeof25minutesorlonger.(Theoncestandardfilmcamera
magazinewouldlast11.)ForAnchorman,Whiteworkedondigitaltransfers
oftheactualfilmMcKayshot,whichallowedWhitetoglidethroughfootageto
assembleadigitalfinalcut.(Assistants,followinghislead,wouldthenmake
theliteralcutstothefilmprint.)Bythemid2000s,comedydirectorswith
newdigitalcamerasliketheAlexaandtheRedavoidedfilmaltogether,
becomingevenmorelimberonset.Brachmann,oneofthelead22Jump
Streeteditors,whoalsoworkedonBeingJohnMalkovichandtwoNancy

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Meyerscomedies,says:Backwhenweshotonfilm,itwasanactorsaying,Let
metryoneline,andthedirectorsaying,Goahead.Anhourwasatypicalgood
daysworthofmaterial.Whereasnowitcanbeuptosixhours,becausetheres
thisabilitytoshootenormousvolumesofmaterialandshootitmorequickly.
ZeneBaker,theeditorofThisIstheEndandTheInterview,said,These
days,Illget20hoursthatIhavetocutdownintoathreeminutescene.
Improvisationcreatesspontaneousmagic,butbydefinitionitsslapdash
andunrefined.AsMikeMyersoncerecalledthecomedianDaveFoleysaying,
Mostimprovcoulddowitharewrite.Inthissense,BrentWhiteisamaster
rewriter,givingmorefelicitousformtoWillFerrellsshaggyriffs,SteveCarells
inspirednonsequitursandMelissaMcCarthysprofanerunshemanagesto
makethefunniestpeopleontheplanetfunnier.Hehastheabilitytowade
intounstructuredmaterialundaunted,tonotgetlostworryingaboutthe
technicalchallengesandjusttapintotherhythmofthescene,Brachmann
said.PaulFeigcallsWhitethemosttalentededitorIveworkedwith.Mike
Saleisevenmoreeffusive:Idlovetohavehiscareer,hesaid.Brentsa
genius.
Stationedathisconsole,Whitecantweakandamplifylaughsmuchthe
wayamusicproducerusesAutoTunetoalterandimprovevocals.Avid
allowsusthetimetotryoutabunchofdifferentideas,becauseyoucandoit
soquickly,hesaid.Itallowsustofinessethetimingofthejokeandthe
contentofthejoke,toadjusttherhythmandthesize,inawaythathas
actuallymademoviesfunnier.
Illustratingthispoint,hedialedupthefootageinwhichAldomadehis
remarkaboutSusansbosom,thenapologizedforhisludicrousflirtations:
Itsacompulsion!Iwilltrytostop.
Juststoptalking.Stoptalking,andIbetthatwouldhelpit,Susan
replied.Afterabeat,McCarthymovedtothenextplotpoint:Youknowwhat?
Imnotgoingdownlikethis.Ineedyoutountieme.
Bosomwhat?Aldoblurted.
WhitelaughedatthisunscriptedburstofTourettesstylelecherousness.
Theexchangewasrough,butpromising.IllcutaversionofthescenewhereI

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usebosomasathread,hesaid,tappingathiskeyboardandsummoning
forthallthosetakesinwhichSerafinowiczhadusedtheword.Atthebottomof
WhitesAvidinterfacewasajaggedwaveform,representingthescenesaudio.
Whitesaysthatevenwiththesoundoff,hecanintuitwhetherasceneisfunny
bysimplylookingatthiswaveform.IfIseealongstretch,Iwanttotightenit
up,hesaid.ThatsliterallythewayIlookatthematerialespeciallywith
WillFerrell.Therearemomentswherehesthinkingwhatthejokeis,thenhe
knowswhatthejokeis,andthenhessayingthejoke.Makingtheleapfrom
onetotwotothree.WhatImdoingistighteningupthatleapforhim:
improvingtherhythm,boomboomboom.
Theimpulsetowardultratightpacing,abettedbytechnology,hasresulted
inawaveofcomedicperformancesthatunfoldatalmostsuperhuman
registers,evenas,paradoxically,theirimprovisatoryaspectscreateanairof
laidbacknaturalism.ZeneBaker,theThisIstheEndeditor,says,Justas
anexample,gobackandwatchHappyGilmore,the1996AdamSandler
vehicle.Itsstillhilarious,butIbetbytodaysstandardsitwillfeelslowto
you.Thelaughperminuteratioiscertainlydifferent.DavidRennie,whose
rsumincludesHomeAlone3andOfficeSpace,saysthatnotlongagohe
waswatchingaclassiccomedy,from1978,and,justforfun,recutascene.I
tighteneditup,tookoutafewframesandfeltthecomictimingwasbetter,he
said.Inourtimeframetoday,itdoesnttakeaslongasitusedtotoprocessa
gag.(Rennieaskedmenottonamethefilm,whichisexalted:Illsoundso
pretentious.)
Thismovementtowardagreaterdensityoflaughsisperceptiblenotonly
acrossdecadesbutacrossthelastfewyears.Duringthefamoussayinggrace
scenethatBrentWhitecutforTalladegaNights(2006),actorsfirelooksand
linesacrossadinnertablewithpleasantlydisorientingrapidity.Thepacingis
evenmoreheightenedinThisIstheEnd(2013),whenSethRogenandJay
Baruchel,twoimprovninjas,debatethevirtuesofaglutenfreediet:Zene
Bakerfillsthescreenwithquick,alternatingcloseupsasRogenslinesabut
andevenoverlapBaruchels.Iwaswatchingthedailies,absorbinghowthey
talktoeachother,andtheyhaveagoodrapport,buttheiractualrhythmwasa

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bitslower,Bakersaid.Ilikenaturalsoundingbutfastpaceddialogue,soI
decided,Thesecharactersareoldfriends,theycanfinisheachothers
sentences,andIcanhavefunwiththis.Theresultiscrosstalkfardenserthan
theperformersmusteredonset,andtheeffectisnotonlytoconveythe
charactersintimacybutalsotokeeptheaudiencebreathlesslybehindthe
beat,barelyprocessingonelaughbeforethenextarrivesasteroidalupdate,
inaway,onthescrewballreparteeofHowardHawks,whofamouslypushed
hisactorstospeakinrapid,overlappingdialogueinHisGirlFriday(1940).
Othermidcenturydirectors,suchasPrestonSturgesandBillyWilder,
shottalentedactorsdeliveringscriptedlineswithoutalotofcuts:tight
performancescapturedwithinasinglemastershot.Today,withcertain
exceptionsWoodyAllenmostprominentlycomedydirectorstendto
shootmanytakesfrommanyangles,providingthemselveswithanabundance
offootage,knownascoverage,thattheywillsortthroughlateron,inediting.
Theyoftengivenotesaboutfavoredtakestotheirscriptsupervisors,whosit
besidethemonsetandpassthesealongtotheeditor.Whitesbossesareno
different,althoughtheirparticularstrategiescanbenovel:Juddhasuseda
stenographeronset,Whitesays,andhellhighlightthingsintheirtranscript
thathelikes.
Intheabsenceofnotes,Whitesinstinctisthatformshouldfollowfunny.
Illsay,Thatsfunnierthanthis,thatlookbetweentheactorsisbetter,their
interactionisbetterherethanthere,heexplained.ThatshowIdecide
whetherIllusethecloseuporthetwoshot.Havingidentifiedthefunniest
jokeinarun,hemakesithisNorthStar.Ireverseengineerthesceneto
makesureIcangettothejoke.Thenitbecomesbridgebuilding.HowdoIget
tothisthingfromthisotherthingIlike?Stitchingtogetherconnectivetissue
betweenkeepers,Whitewillsendhisdirectormultipleoptions,thenrecutthe
sceneuponreceivingfeedback.Amoviebeginstotakeshapeintiny,tentative
increments.Thesedirectorsdontwantoneversionofthescene,saidMelissa
Bretherton,anApatowcampeditorand,onSpy,Whitesrighthand.They
wantsix.WhitenotedthatApatow,whenshootingafilm,willsometimes
havesomethinghewantstosay,buthedoesntknowexactlywhereitgoesin

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themovie.Doesitservicetheend?Doesitgoearly?Sohellshootthesame
exactscene,thesameexchange,withtheactorsindifferentwardrobes,sothat
Icanslotitinatdifferentpoints.
WhitesculptedhisbosomoptionforScene114.Theresathingthat
happenswhenactorsvamp,whichisthattheyrepeatthemselves,hesaid.So
ifIcanpullouttherepetitions,Icanstrengthentheperformance.Hetoggled
betweentakesappraisingly.CertainonesFeighadmarkedwithaVG,for
verygood.Otherswereunusable:SerafinowiczcrackedupMcCarthyshead
wasturnedthewrongway.Whitelikedaparticulartakeexceptfortheway
thatMcCarthysaidstoptalkingtwiceinresponsetoAldoscompulsion
apology,sohesimplydeletedthephrasessecondappearance,cuttingtoa
reactionshotfromSerafinowicztohidetheexcision.Thingsstillfeltslow,so
Whitetriedseveralconfigurationsofthedialogue,snippingandrearranging
wordslikeamanuscripteditorwitharedpen,thenfinallyscrappedthesecond
halfofAldosapologyoutright,alongwiththefirsthalfofMcCarthysreply.
Nowthecharacterstalked,amusingly,rightpasteachother:
ALDO:Itsacompulsion!
SUSAN(disgustedly):Youknowwhat,Imnotgoingdownlikethis.Just
untieme!
ALDO:Bosomwhat?
SeehowIpulledthosetogether?Whitesaidhappily.Compulsionto
bosom,thatstheconnector.Workingmicroscopically,hedtransformeda
tossedoffadlibintoasolid,streamlinedlaugh.Heleanedbackandletthe
exchangeplaythroughagain:Boomboomboom.
WhiteisaMormonfromOrem,Utah,downthecanyonfrom
Sundance,hesays.AsanundergraduateatBrighamYoungUniversity,hehad
screenwritingambitions,withtastesthatleanedtowarddramaticmaterialhe
acknowledgesthathisfaithsquaresimprobablywithhiscareerinraunchy
comedies.Imtheonewhowentofftojointhecircus,Whitesays.Asa
Mormon,yourenotsupposedtoseeRratedmovies.AndwhenIwasat
B.Y.U.,itwasconstantlytalkedabout:Howdoyoumakemoviesinthisfaith?
WhenWhitewascuttingThe40YearOldVirginafilmheinterpretsas

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beingaboutfamilyvalues:monogamy,chastityheamendedthetitlefor
hiskidsbenefit.ItoldthemitwascalledThe40YearOld,hesays.
WhenWhitewas24,hegotajobatSundanceInstitute,aproductionside
siblingofthefilmfestival,wherehehelpedcutworkshoppedscenesfrom
potentialindiedramas.Whilethere,heappliedtoColumbiaasascreenwriting
studenttheschoolinitiallyrejectedhim,thenwaitlistedhim,thenfinally
acceptedhim.Whitesaysthathisbackgroundindramahelpshimtohomein
ontheemotionalrealityofthesceneshecutstoday,evenifthosescenes
includepreposterouslinesaboutbosomsandcolons:TheearlythingsIdid
werereallyseriousanddire,andwhatwasgreataboutthatwasthatitwas
alwaysabouttherealityofthesituation.ThatsoneofthethingsIbringtothe
tabletheideathatthejokeonlylivesifitlivesinarealenvironment,areal
situation.
OneofWhitesmentorsatSundancewasDedeAllen,whocutDogDay
AfternoonandBonnieandClyde.AlleninstilledinWhiteanunfussy
approach.Yourunintoeditorswhosay,Icantmakethatcut,theglassof
waterisinthewrongplaceinthattake,Whitesaid.ButIllsay:Whocares?
Theperformanceisstrongestinthatcut!Whywouldyoumatchtheglassand
takeonthatworseperformance?Matchingisforsissiesthatsoneofthe
thingsDedewouldsayallthetime.Whitearguesthatasaudiencemembers,
welookatactorseyesmostofthetime,soaslongastheyreengaging,youre
goingtobeconnectedtothatperson,andwhateverhappenselsewhereinthe
frameislessimportant.Increasingly,Whiteisabletohavehiscakeandeatit
too,payingdigitaleffectshousestoswapoutanunwantedportionofaframe
withonemoredesirable,say,orsuperimposinganactorsheadatthebottom
tofabricatevisualcontinuitybetweenshots.
AnopportunitytoworkwithAllen,cuttingRobertRedfordsTheMilagro
BeanfieldWar(1988),aroseatthesametimethatWhitewasmulling
Columbiasacceptanceletter.Heconsultedthedean,whotoldWhitethat
experienceonaHollywoodmoviewastoovaluabletopassup.SoItookthe
job,Whitesays.HestayedinHollywood,workinghiswayuptheranks,
occasionallyreturningtoSundance.In1999,hesawatapeoftheFreaksand

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Geekspilot.Whiteputthewordoutaneditingslotontheseriescameopen,
andFeighiredhim.AfterNBCcanceledthatshow,WhitefollowedApatow,its
producer,tothepilotforanevertoairFoxsitcomcalledNorthHollywood,
starringJasonSegel,AmyPoehlerandKevinHart.Itwassupposedtobe20
minuteslong,Whiterecalls,andJuddshot,like,90hoursofmaterial.I
workedreallyhardtryingtogetitdowntotime,andthe45minuteversion
wasfunnyandsmart,butFoxneededitinthathalfhourwindow.Wecutitto
time,anditjustdidntwork.
Thatexperiencedemonstratedhowtheformaldemandsofamainstream
sitcomand,byextension,ofamainstreammoviecansometimeswork
againstthesilly,freerangehumorthatrawimprovisationgenerates.Adam
McKaysaysitshardtodetermine,whenhescrackinguponset,howthe
jokeswillmorphastheygointothecontextofthefilm.Becauseyougetallthis
funnystuff,butthen,guesswhat,youvecutthemovietogether,andthelove
storyisplayingwaystrongerthantheotherthingyouthoughtwouldplay
strong,andthatjustchangesallthejokes.WehadasceneinStepBrothers
thatwassofunnyundeniablythefunnieststuffwedevershot.Anditjust
didntworkatthescreenings,becauseofthestoryrhythm.Thescene,which
involvedWillFerrellandJohnC.Reillysleepwalking,camelateinthefilm,at
apoint,McKayeventuallysurmised,whentheaudiencehadinsufficient
patienceforsuchapureflightoffancy.Thisnotwithstanding,Whitebelieves
thateventhoughthereareallthesegreatthingswewinduptakingout,the
bestjokeswillsurviveitstheDarwinismofjokes.
Whitesdutiesoscillate,asajobgrindson,betweenthoseofagem
carverandthoseofabricklayeritsonethingtoperfectasinglejoke,quite
anothertoassembleaseriesoftheseintoamoviethatstandsupstraight.
ShootingforSpywrappedonJune21,atwhichpointWhiteandhisteam
movedtoalargerpostproductionhouseonBurbankBoulevard.Fortwo
months,FeigandWhitehunchedoverthefootage,hammeringaway,as
Whiteputit,andonthemorningofSept.2theywatchedapareddown
versionofthemoviethatran2hours15minutesnotquiteshortenough,but
gettingthere.WhitesatbehindFeig,takingnotesonthefilmandwatching

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Feigwatching.
Bytheend,Feigwasdisappointed.Wesuckedtheairoutofit,hesaid.
MelBrookshasstressedtheimportance,whileeditingafilm,ofcarvingout
thesitdownplacesfortheaudiencetostoplaughing.Alongsimilarlines,the
editorRalphRosenblumoncerecalledthatwhileshapingtheAnnieHallgag
inwhichAlvysneezesintoapileofcocaine,hehadtoprolongthesceneby
fiveorsixsecondstomakeroomfortheenormouslaughthebitprovokedat
testscreenings.Evenifcomedypacingcirca2015ismuchmorecompressed
thaninthe1970s,theprincipleholds:FeigandWhiterealizedthatin
trimmingSpy,theyddoneawaywithtoomanysitdownplaces.
Whiteswiveledinhischairtoconsultabulletinboardcoveredwitheight
rowsofindexcards,numbering86inall.Thisisthewholemovie,White
explained.Eachcardbrieflysummarizedascene,oraclusterofscenes,from
Spy.Card070073,forinstance,read:Susangetsnewclothes,goesto
casino,isgreetedbyFord.Ext.FancyshoppingstreetRome/inCasino.The
indexcardsformedaroadmapforSpy,and,toadegree,ajigsawpuzzle,too.
Spyisaverylinearmovie,hesaid,butinoneofJuddsmovies
shaggier,morediscursiveIdbegoing,WhatifIputthisscenehere,this
informationhere?Movingtheindexcardsaroundtoseewhatworks.
ThefirstofseveralpublictestscreeningsforSpywasscheduledforSept.
25.FeigandWhiteplannedtoshowthemovieatamultiplexinWoodland
Hills,Calif.,becausetheydhadsuccessthereinthepastandbecauseitwasfar
enoughfromLosAngelestoensurealessindustryheavycrowd.Another
favoredscreeninglocaleforApatowandcompanyisaparticularmegaplexina
mallinOrangeCounty,whichtheythinkoffersabetterindicationofhow
MiddleAmericawillreacttoamovie.Ajokethatkillswhenyouplayitfor
yourcomedynerdfriendsmightfallflatwhenyouputitinfrontofactual
people,Feigsaid.Whiterecalled,withpain,anearlyscreeningthatWarner
Bros.conductedinKansasforArthur,the2011RussellBrandvehicle,which
Whiteeditedandwhichultimatelyflopped.Theaudienceapprovalscores
weredisappointingthatnight,andWhitereturnedtoCaliforniaaboardthe
sameprivatejetasseveralstudioexecutives.Itwassoquietonthatplane

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horrible,hesaid.Youknewtheyddecided,thenandthere,Werenotgonna
spendanymoremoneyonthismovie.
TheWoodlandHillsscreeningpromisedsomethingmorepracticalthana
senseofhowSpywouldfareinthewild:Amicrophoneplacedatthefrontof
thetheaterwouldprovideWhitewitharecordingoftheaudienceslaughter,
againstwhichtoeditfutureversionsofthefilm.Ifajokedidntsendthecrest
ofthewaveformsufficientlyhigh,itwouldeitherbetweakedorreplacedwith
analternatejokeanddemotedtothefilmsBcutaversioncomposedof
jokesthathadntkilledbutthatFeigwasntreadytotrash.Sometest
audienceswouldunwittinglywatchtheBcut,andifcertainjokeswentover
great,thenIllstealthemanddropthemintotheAcut,Whitesaid.Last
year,ParamountPictureswentasfarastogivetheAnchorman2Bcutits
ownlimitedtheatricalrelease:OverseenbyBretherton,Whitesdeputy,ittold
theexactstoryastheofficialrelease,butwith763differentjokesslottedin.
Thiswayofworkingdependsonnewtechnologiesbutreflectstimehonored
practices.TheMarxBrothersvettedANightattheOpera,longbeforethey
evergottotheset,byprecisionengineeringitsmaterialonthevaudeville
circuit.
FeigandWhitestartedtoaddressthenotestheymadethatmorning.
WhileWhitemannedhiskeyboard,Feig,dresseddandyishlyinanavy
pinstripesuitwithfluorescentfloralprintsocksandshinybrownwingtips,
commandeeredaleatherswivelchairandfidgetedwithdifferentthings:a
plasticstresstoy,anantiquewalkingstick(Feigcollectsthem),aChinesefan,
amugoftea,hislowerlip.
Startingfromthetop,Whitesiftedthroughseveraltakesofapretitle
sceneinwhichSusanhastheunenviabletaskoffiringherbosssgardener.
Whitebegansplicingtogetherdifferentalts,thenintentonpumpingsome
airbackintothefilmexperimentedwithalong,awkwardpausethat
terminatedinawonderfullyabruptsmashcut.Thistransitionappeared
nowhereinthescript,butthedirectorwaspleased.
Sometimes,Feigsaid,youjustcreateajokeoutofnothing.

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Correction:April15,2015
AnearlierversionofthisarticlemisspelledthenameoftheUtahcitywhere
BrentWhitegrewup.ItisOrem,notOram.
JonahWeinerisacontributingwriterforthemagazineandacontributingeditor
atRollingStone.
SignupforournewslettertogetthebestofTheNewYorkTimesMagazine
deliveredtoyourinboxeveryweek.
A version of this article appears in print on April 19, 2015, on page MM38 of the Sunday Magazine
with the headline: In Stitches.

2015 The New York Times Company

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