All Of It Podcast Summary
Episode: Editing the Election of a Pope in 'Conclave' (The Big Picture)
Host: Alison Stewart
Guest: Nick Emerson, Editor of Conclave
Release Date: February 7, 2025
Duration: Approximately 22 minutes
Knowledge Cutoff: October 2023

Introduction

In this episode of All Of It by WNYC, host Alison Stewart delves into the intricacies of film editing with Nick Emerson, the Oscar-nominated editor of the thriller Conclave. The discussion offers listeners an in-depth look at the challenges and creative processes involved in bringing the election of a pope to the silver screen, transforming a sacred ritual into a gripping narrative.

Nick Emerson’s Journey from TV News to Filmmaking

Transition into Filmmaking ([02:16] – [03:16])

Nick Emerson shares his career trajectory, highlighting his transition from television news to documentary filmmaking and eventually into feature films. He describes the move as a "long process" with numerous stepping stones, including editing short films that gained attention and led to opportunities in feature film editing.

Nick Emerson ([02:29]): "I spent a long time doing documentary film, which is an amazing place and field to learn how to tell a story and draw a story out of some material."

Similarities and Differences in Editing ([03:22] – [04:11])

Emerson discusses the parallels between editing news footage and narrative film, emphasizing the importance of narrative structure in both. He notes that while the pacing and rhythm differ, the fundamental need for a beginning, middle, and end remains consistent.

Nick Emerson ([03:22]): "From a narrative point of view, it's similar. It's still got to have dramatic peaks and troughs and so forth."

Editing Conclave: Challenges and Creativity

Initial Impressions of the Script ([05:08] – [05:20])

Upon reading the Conclave script, Emerson was immediately drawn to its thrilling nature and complexity, likening it to classic conspiracy thrillers.

Nick Emerson ([05:20]): "It was so thrilling. It reminded me of films like All the President's Men and The Parallax View."

Collaboration with Director Edward Berger ([06:31] – [07:34])

Emerson highlights the collaborative relationship with director Edward Berger, emphasizing the importance of understanding Berger's vision and maintaining open communication throughout the editing process.

Nick Emerson ([06:31]): "It was a lot about being able to develop that relationship and start to understand what his desires for the film were."

Meticulous Editing and Director’s Openness ([07:49] – [09:43])

Emerson provides an example of Berger’s adaptability by describing how they approached editing a sequence of cardinals arriving for the conclave. Berger encouraged exploring different editing styles to enhance the narrative.

Nick Emerson ([07:49]): "He just loves editing and believes that part of editing is to explore every opportunity available."

Editing Rituals and Ballot Sequences ([09:55] – [11:10])

The editor discusses the complexities of editing the film’s ritualistic elements, particularly the ballot sequences. The goal was to portray each ritual uniquely while maintaining narrative tension.

Nick Emerson ([09:55]): "We wanted to make these rituals different every time we visited them, so they were so much fun to edit."

Handling Necessary but Less Engaging Sequences ([11:17] – [12:25])

Emerson explains how he and Berger ensured that every scene served a purpose, even if it wasn't inherently exciting, by meticulously crafting the film’s structure to maintain viewer engagement.

Nick Emerson ([11:17]): "We just don't waste a frame; every frame has to be there for a reason."

Pacing and Tension in Conclave

Creating a Thriller Pace ([12:25] – [14:56])

Emerson elaborates on the strategies used to maintain a thriller-like pace despite the film’s dialog-heavy scenes. This involved tight editing to sustain tension and swift transitions to keep audiences engaged.

Nick Emerson ([12:47]): "We wanted to keep the pace up and... keep people on the edge of their seats."

Influences and Inspirations ([15:00] – [15:38])

Drawing inspiration from political thrillers and directors like David Fincher, Emerson aimed to emulate effective pacing and suspense techniques in Conclave.

Nick Emerson ([15:00]): "I am a great admirer of David Fincher's films. He creates tension and suspense in a really interesting way."

Character Development Through Editing

Highlighting Cardinal Lawrence’s Internal Struggles ([15:59] – [17:56])

Emerson discusses the challenge of showcasing Ralph Fiennes’s character, Cardinal Lawrence, whose internal conflicts drive the narrative. By maintaining a close perspective and leveraging Fiennes’s powerful performance, Emerson ensured that Lawrence’s internal struggles were palpable to the audience.

Nick Emerson ([15:59]): "We wanted to keep it in his point of view so much that we see everything through him."

Balancing Supporting Characters ([20:56] – [23:04])

The editor emphasizes the importance of integrating supporting characters, such as the nuns, to enrich the film’s narrative tapestry without overshadowing the main storyline. Careful pacing and strategic placements ensured these characters remained integral to the story.

Nick Emerson ([21:15]): "We were careful that she had to be placed and... she wasn't just somebody in charge of the nuns."

Recognition and Future Projects

Oscar Nomination Experience ([23:04] – [23:09])

Emerson recounts the moment he learned about his Oscar nomination while in the editing room, highlighting the excitement and validation it brought to his work.

Nick Emerson ([23:09]): "It was about lunchtime and I was there with my assistant editor, and we watched the live stream. What an incredible moment."

Upcoming Projects ([23:30] – [23:46])

He briefly mentions his next project, The Ballad of a Small Player, expressing enthusiasm about collaborating with a talented cast including Colin Farrell, Fala Chen, and Tilda Swinton.

Nick Emerson ([23:33]): "The next film is called The Ballad of a Small Player and it stars Colin Farrell, Fala Chen, and Tilda Swinton."

Notable Quotes

• Nick Emerson ([03:22]): "From a narrative point of view, it's similar. It's still got to have dramatic peaks and troughs and so forth."

• Nick Emerson ([05:20]): "It was so thrilling. It reminded me of films like All the President's Men and The Parallax View."

• Nick Emerson ([07:49]): "He just loves editing and believes that part of editing is to explore every opportunity available."

• Nick Emerson ([12:47]): "We wanted to keep the pace up and... keep people on the edge of their seats."

• Nick Emerson ([15:59]): "We wanted to keep it in his point of view so much that we see everything through him."

• Nick Emerson ([23:09]): "It was about lunchtime and I was there with my assistant editor, and we watched the live stream. What an incredible moment."

Conclusion and Insights

This episode of All Of It offers a comprehensive exploration of the art of film editing through Nick Emerson’s experiences on Conclave. Emerson’s insights reveal the delicate balance between maintaining narrative tension and honoring traditional rituals within a film’s structure. His collaboration with director Edward Berger underscores the importance of creative flexibility and mutual respect in the editing process. The discussion also highlights the significance of character-driven storytelling and the role of supporting characters in enriching the main narrative. Emerson’s Oscar nomination serves as a testament to his meticulous craftsmanship and dedication to the art of filmmaking.

Note: This summary excludes sponsor announcements, advertisements, and non-content segments to focus solely on the substantive discussion between Alison Stewart and Nick Emerson.