![]() The pacing of the entire series is embedded with a certain breakneck speed. We try to keep every character engaging, relatable, relevant, and fresh but also, dynamic and exciting,” Zimmerman revealed. Sometimes we do a perspective through the monster’s eyes. We take it to another person and that will yield a completely different result. There are times when we switch perspectives, take it out of whoever is telling the story, or whatever the story is supposed to be about. With Eleven, it’s really through her eyes. “The scenes really speak to the perspectives of each different part. The perspective of the last episode is subjective. It’s also the music that we choose, the sound effects we use, the environment that we create, all those play factors in striking the right chords to tell the story,” the editor expressed. It’s finding that happy medium in picking performances that feel real and the storytelling that we don’t lose the audience. It’s the part where how far do we go or how far do we take people’s emotion. It’s really striking that emotional chord, but not hitting it so hard that people don’t believe it. “That episode is delicately balancing the emotion of all the characters with Hopper’s letter, Eleven reading the letter, and all the vignettes of the goodbyes. ![]() The emotion of the episode was finding a balance of precision of it all. The greatest part about it is our language and storytelling are the same.” It was almost seamless and literally took nothing to put together. The biggest fear is when we get the sequences and try to integrate them which is the hardest part is marrying the two, deciding the cut points, and where we’re going to come in and exit action. ![]() “She built this entire huge fight underground with Hopper and the Grigori with the laser choreography, where I took upstairs and dealt with the monster, the fireworks, and everything with Eleven and Billy. Dean ZimmermanĪ majority of the editing in the season finale was dispersed as Zimmerman focused on the fight between the monster and kids upstairs, and Naranjo edited the bottom portion with the adults. ![]() Assistant Editor Katheryn Naranjo was promoted up to editor to co-cut with Dean Zimmerman on this massive episode. It incorporated a heavy amount of footage, the complexity of the episode itself, wrapping up all the storylines, tremendous visual effects, action sequences, and set pieces. Season 3 Episode 8 was very ambitious and a major undertaking in that it was 30 pages longer than any other script written for Stranger Things. (Note: There may be minor spoilers for the episode discussed.) The Emmy-nominated episode was cut by Editors Dean Zimmerman and Katheryn Naranjo. Meanwhile, Hopper, Joyce, and Murray head underneath to the Russian base, and Steve, Robin, Dustin, and Erica make their way to the radio antennae. The Duffer Brothers once again delivered on extraordinary expectations with the finale episode of Season Three of their highly- acclaimed series, Stranger Things, titled “ Chapter Eight: The Battle of Starcourt.” The ultimate showdown and battle rages on in the Starcourt Mall between Eleven and the team of Mike, Will, Lucas, Nancy, Jonathan and Max, as they clash against the Mind Flayer from up above in the food court. ![]()
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