DIRECTED BY ADAM BROOKS AND MATTHEW KENNEDY
WRITTEN BY ADAM BROOKS, MATTHEW KENNEDY AND CONOR SWEENEY
PRODUCED BY ADAM BROOKS AND MATTHEW KENNEDY
ADAM BROOKS AND MATTHEW KENNEDY
Matthew Kennedy and Adam Brooks have been making films since they were old enough to save their allowance and rent a camcorder from Radio Shack. After meeting through the Winnipeg Short Film Massacre in 2006, the two miscreants joined forces the following year to form the no-budget-movie-powerhouse – Astron-6. Kennedy and Brooks both appeared in the award winning Manborg, and Father’s Day (co-directing the latter with the other members of Astron-6).
The Editor is our love letter to the Italian giallo films of the 1970s and 80s; the convoluted murder mysteries of Mario Bava, the super-saturated color palettes of Dario Argento, and the supernatural twists of Lucio Fulci. Most of these old films were written in Italian but performed in English (even when the actors couldn’t speak the language,) set in America but shot in Italy, all to appeal to a larger world market. This resulted in some often-unusual syntax and almost always- unusual cadences and deliveries on the part of the English speaking performers required to sync their deliveries to the original footage. It is perhaps as important to the giallo aesthetic as dream logic, hyper-violence or an overactive zoom lens. And it is this aesthetic that charmed us so much to begin with. With giallo films, the style is the substance.
Making The Editor has been our greatest creative challenge to date. We learned that making a period piece with multiple name actors, endless set pieces and special effects on a shoestring budget is a sleep depriving, hemorrhoid-inducing stress-mare to say the least. Sure, you might think we learned our lesson making Manborg and Father’s Day with the rest of Astron-6, but no. We jumped right back into the fire all over again (literally doing our own stunts) for this absurdist take on the genre. Our aim was to ramp up the production value, to shoot 4k instead of DSLR, to get some name actors, to make a Canadian giallo.
Everything was created from the ground up. Locations had to be built or painted or both. Every piece of furniture was carried in one piece at a time by us and our closest friends (we couldn’t afford movers). Once we had the costumes, locations, set dec and actors in place, we would be exhausted, just in time to start shooting.
Our budget only allowed us a skeleton crew for one quarter of production. After we had shot that quarter it was up to the two of us to complete the rest along with a few friends and family as our only assistants. We took years off of our lives, lost weight and gained grey hair as we did every possible job one can do on a film. After months upon months of endless work hours we are happy to release our proudest achievement to date.