Podcast Summary: All Of It with Alison Stewart

Episode: Oscar-Nom'd Editor Andy Jurgensen On 'One Battle After Another'
Date: February 6, 2026
Host: Alison Stewart (A)
Guest: Andy Jurgensen (B), Oscar-nominated editor
Main Topic: The craft of editing Paul Thomas Anderson’s epic film One Battle After Another

Episode Overview

This episode features a conversation between host Alison Stewart and Andy Jurgensen, the Oscar-nominated editor of Paul Thomas Anderson’s One Battle After Another. The discussion delves deep into the editor’s behind-the-scenes process: from first reading the script and navigating the film's shifting tones, to the technical challenges of working with VistaVision and the artistry required to balance chaos, humor, and emotion in a sprawling ensemble film. Jurgensen reflects on both the practical and instinctual elements of his craft, providing candid insights, humorous anecdotes, and touching moments from a landmark production.

Key Discussion Points & Insights

1. Working with Paul Thomas Anderson: Building Trust and Shorthand

• Longstanding Partnership:

  • Jurgensen has worked with Anderson for over 12 years, beginning as an assistant editor on Inherent Vice and progressing across multiple projects.
  • Over time, they’ve developed a deep mutual understanding and what Jurgensen calls a “shorthand,” facilitating efficient collaboration.
    • “I just feel like I’ve gotten a good sense of what he likes and what he doesn't like, his sensibilities. …We kind of just get each other.” (B, 03:28)

• Understanding “Paulisms”:

  • “Paulism” refers to Anderson’s signature offbeat, unconventional touches—quirks, imperfections, and moments that add humanity and realism rather than polished perfection.
    • “You know, it's like kind of the offbeat, not quirky… something's a little off, you know, like, unconventional. …All of his movies are not like too polished… there’s imperfections throughout and I think that's something he likes to keep.” (B, 06:00)

2. First Steps: Encountering the Script and Finding the Film’s Core

• Receiving the Script Blind:

  • Anderson handed over the script with minimal preamble, letting the material speak for itself.
    • “He was like, here’s the script.” (B, 04:29)

• Tonality Reveal:

  • Jurgensen initially didn’t grasp the film’s satirical and darkly comic shades, only realizing its tonal complexity after a second read.
    • “As you're reading it… there’s these black comedy elements, these kind of satirical elements… so I read it through and then kind of re-read it again in that light.” (B, 04:39)

• Emotional Anchor:

  • Ensuring the father/daughter relationship was the movie's emotional center was a bedrock of their editorial approach.
    • “Making sure that this father-daughter bond was like the emotional core of the movie. And then everything else is kind of swirling around it.” (B, 03:10)

3. Texture and Imperfection: Keeping It Real

• Deliberate Imperfections:
  • Anderson and Jurgensen favor keeping small “flaws” (camera bumps, line stumbles, on-set noises) for greater authenticity.
    • “Sometimes… I really want to fix this camera bump… but sometimes if an actor stumbles over a line or gets distracted… that can add something interesting…We always like to see what we can use.” (B, 06:50)
    • “Even in the production tracks… weird sounds… he's always like, let's keep that in… it adds extra texture.” (B, 07:30)

4. The Technical Challenge: Shooting and Editing in VistaVision

• Why VistaVision?

  • Chosen for its grand scope, giving the film an epic visual palette suited to its scale, allowing for IMAX blow-ups and variable aspect ratios.
    • “VistaVision was something that [Anderson] had been experimenting with… you get basically double the size of a normal 35mm… you get an extra height and extra top and bottom.” (B, 08:27)
  • Unique workflow involved shipping film to LA’s only processing lab and hosting daily VistaVision screenings on-set for analog review.
    • “We actually traveled with a VistaVision projector on location… and I would travel with the production and we would have daily screenings in VistaVision.” (B, 10:51)

• Big Screen Impact:

  • The format amplified set pieces—action, riots, the climactic chase—with immersive, sweeping scale.
    • “This movie called for a grander scope. …especially all the back-tank cross with Sensei and Bob, like that sequence and the riots… and the end chase… it was a dream.” (B, 11:47)

5. Editing Process and Rhythm: Cutting as Collaboration

• Editing During Production:

  • Jurgensen was on set throughout, assembling sequences, noting Anderson's preferences, and showing scenes to crew for instant feedback.
    • “I would be taking notes of things that Paul liked, didn’t like… the whole crew could come… so we could judge laughs or which things kind of were working with the audience.” (B, 12:07)

• Pacing Lessons from a Forced Hiatus:

  • A break in filming (awaiting Benicio Del Toro’s availability) gave time to fine-tune tempo and tone, especially in the crucial 25-minute prologue.
    • “We had a lot of footage from the prologue… we had to figure out the speed and the pace of the prologue, which was tricky… it set the whole pace of the movie.” (B, 13:45)

• Managing Narrative Tension:

  • Montage, audio overlaps, and “prelaps” (introducing audio before visual cues) were used to guide audience flow, ensuring peaks of tension were balanced with breathing space.
    • “You need to have a scene where the audience can breathe… and then build it up again… it kind of has to be this up and down, because if it’s at 100% the whole movie, it's not gonna be as effective.” (B, 14:30)

6. Editing Humor and Chaos: Controlled Mayhem

• Performance-Driven Comedy:

  • The script’s humor was amplified through performance—especially Leo DiCaprio’s nuanced physical comedy in phone scenes—so Jurgensen prioritized takes with the truest reactions.
    • “That scene works so well because of all of Leo's expressions… frustrations… screaming into the phone silently, all sorts of stuff.” (B, 16:44)

• Minimal Manipulation:

  • Often, the best comedic sequences were built from only a few select takes to preserve authenticity.
    • “If you cut to all the different takes, you can tell that it’s manipulated too much… we kind of honed in on a couple that were the best.” (B, 17:14)

• Editing Chaotic Ensemble Scenes:

  • Approach is instinctive: mark standout moments from dailies and experiment with assembling them, evolving the sequence puzzle by puzzle.
    • “You start by watching all the dailies…the things that feel real… it comes out at the screen at you… then it's an evolution.” (B, 19:42)

7. Handling Deleted Scenes and Streamlined Narrative

• Pruning for Focus:

  • Some character arcs (e.g., Regina Hall’s nun and scenes at the convent) were reduced for pacing and story clarity, even if shot material suggested deeper backstory.
    • “At that point in the movie… we kind of had to breeze through that a little bit… knowing where you can jump time and move along is important.” (B, 20:48)

• Reordering for Impact:

  • Clever intercutting—such as the interrogation scene between Deandra and Danvers—was sometimes a late addition to strengthen narrative parallels or fill gaps.
    • “We actually didn’t have that in the movie at one point… we ended up using it as a way to crosscut… ended up being a nice contrast.” (B, 22:00)

Notable Quotes & Memorable Moments

• On the balance of perfection and imperfection:

  • “It makes the movie feel more human, you know.” (B, 06:26)

• On the film’s emotional foundation:

  • “Making sure that this father-daughter bond was like the emotional core of the movie. And then everything else is kind of swirling around it.” (B, 03:10)

• On defining a Paulism:

  • “I think your listeners would know what that would be.” (B, 06:06)

• On the analog workflow:

  • “Paul’s very into analog.” (B, 11:09)

• On the iterative editing process:

  • “You start by watching all the dailies. …It's an evolution… you're trying to figure out the best version.” (B, 19:42)

• On learning of his Oscar nomination:

  • “I was at Skywalker Ranch… I woke up early but I had like 50 text messages… it was fun, because I was there with Chase and with Paul, and so we kind of got to celebrate that morning.” (B, 23:31)

Timestamps for Important Segments

• PTA Collaboration & Paulisms: 02:44 – 06:46
• First Script Reactions & Establishing Tone: 04:17 – 05:58
• Imperfections & Human Texture: 06:46 – 07:54
• VistaVision & Technical Scope: 07:57 – 12:01
• Editing During Production & Pacing Discovery: 12:07 – 15:29
• Editing Comedy & Leo’s Phone Scene: 15:29 – 18:38
• Assembling Chaotic Sequences: 18:38 – 20:34
• Cut Material & Reordered Scenes: 20:34 – 23:25
• Oscar Nomination Story: 23:25 – 23:58

Tone and Language

Through the episode, the tone is conversational and insightful. Jurgensen speaks with humility, enthusiasm, and technical authority, often sprinkled with industry humor. Alison Stewart brings curiosity and warmth, drawing out specifics without losing sight of the big picture—true to the show’s spirit of accessible cultural conversation.

Summary Takeaway

For cinephiles and behind-the-scenes enthusiasts, this episode is a masterclass in the subtle and often invisible art of film editing. Jurgensen’s reflections on process, partnership, playfulness, and problem-solving offer a vivid window into how Oscar-caliber films are literally made—piece by imperfect piece.