Editor James Crouch
The Tribeca Film Festival film 12 Mighty Orphans is based on a true story of an orphanage in Fort Worth, Texas, during the Great Depression. An accomplished coach named Rusty Russell (Luke Wilson), comes to the orphanage to start a football program with only 12 players on the team. Against all odds, he helps the boys fight their way to play in the Texas State High School Championship. He film also stars Martin Sheen, Robert Duvall and Treat Williams.
12 Mighty Orphans was directed by Ty Roberts, shot by cinematographer David McFarland and edited by James Crouch. We reached out to Crouch to find out more about his workflow on the film.
How early did you get involved on this film?
I cut Ty’s previous film, The Iron Orchard, so he looped me in on this project pretty early on.
What was the film shot on?
Arri Alexa Mini Open Gate RAW — Anamorphic.
How did you work with Ty Roberts?
Ty is a great collaborator and relatively hands-off. He gave me full rein to do my editor’s cut first, then we’d dive into each scene together. He brings out my best work, and we’re always digging in to see every available option. We worked in sequences during the week, and then we reviewed the full cuts over the weekend.
Was there a particular scene that was most challenging?
The entire edit was a beast. They adapted the script from a book, and the first cut was full of so many storylines that it was almost three-and-a-half hours long. We were eventually able to get it down to a little less than two hours, but getting there was tough.
There was so much trial and error. We edited on and off for over seven months, trying lots of different things — taking beats out, putting them back in, swapping the structure around. You name it. We also added in voiceover at the 11th hour, which helped with beats we had taken out. No stone was left unturned, and that’s what helped make it the best movie possible. I’m so proud of what we accomplished.
Did you do more than edit on this film?
Besides editing, I helped manage sound, color, and visual effects on the film. It made sense for me to handle that part since we were all working remotely during the pandemic.
Can you talk about editing during the pandemic. How did that affect the workflow?
We were right in the middle of the edit in March of 2020. It made it difficult for us to review and work together. The plus side was that I moved my suite back home and found that I do my best work there. Because I can implement ideas and thoughts at any time of the day, I don’t have to wait to try something the next day when going into an office.
Where did you do the post?
The conform was done at Technicolor Postworks in NYC, and the color was done by Damien van der Cruyssen at the Mill.
What system did you use to cut?
I use Adobe Premiere Pro, my preferred software. I love the customization you can do, and after years working with the program, I have learned to use fast SSD drives and proxies, which keep it extremely stable.
Is there a tool within that system that you really love?
The Essential Sound panel is excellent for quick and dirty effects and repair. I’m really into sound design, and it was super helpful when doing the temp design.
Did you have an assistant editor on this?Yes, I was lucky enough to have an assistant on this project. In fact, I had a couple of assistants: Jay Serra in Fort Worth, where the film was shot, and Chance St. George in Austin.
Do you see the role of assistant editors as strictly technical or as collaborators? Do you allow them to edit scenes and/or give input on your edits?
I’m all about collaborating and giving people opportunities to cut. Whenever I needed help on something, I passed it to either Jay or Chance, and we would trade-off. If I got tunnel vision on a scene and hit a dead end, I would bring them in with fresh eyes to give me a fresh perspective. They were both great AEs who have both become editors since then.
How do you manage producer’s expectations with reality/what can really be done?
Under-promise and over-deliver, as they say. Do what you can and show them what you have. Fortunately, the lead producer on this film, Houston Hill, is a close friend and collaborator of mine, so that part was easy.
How do you manage your time? Do you manage expectations or try everything they ask of you?
I manage my time by prioritizing what needs to get done before I start. If I’m exhausted and overworked, I’ll seek help from my assistants to pick up the slack. As far as trying what they ask: you always try it. Well, you always try it if the director asks it of you.
How do you take criticism? Do you find yourself defensive or accepting of other’s ideas?
Criticism is just part of the job. Hopefully, it’s given constructively. If it isn’t, it’s not conducive to cultivating a creative environment. You need to keep an open mind when working with other people. It’s important to avoid playing favorites with your ideas. You need to avoid getting defensive or stuck on a single, strict way to do anything.
