The Saw family promotes from within. After production designer David Hackl got his directorial debut in Saw V, editor Kevin Greutart gets his with Saw VI. He found it easy to maintain the visual aesthetic of the franchise, because it was specifically scripted.
Kevin Greutart on Saw VI
“A lot of the look of the film is in the script down to details like ‘a yellow haze permeates the room,’” Greutart said. “We’ll actually put a yellow light bulb in and then in the final coloring, we’ll say, ‘Oh, we have the technology to turn it green. Let’s do it.’ In general, I think [the writers] are very conscious of what their writing will look like.”
Newbie Greutart also benefits from five films of experience, and all the dos and don’ts they entail. “I’ve got to say, we had a lot that we could learn from having five movies ahead of us. Some people argued that IV was too complex and V wasn’t complex enough. We pay a lot of attention to stuff like that and I think we’re able to find a good blend as well. Learning is important.”
Remember, the editing room is where you see all the mistakes. If something went wrong on the set, the shots are not going to cut together. “Because I spent so much time in the cutting room with previous directors, we’ve talked about all this stuff up and down and the history of movies and horror. So I had a huge advantage in this film that Darren [Bousman] and James [Wan] and to some extent David [Hackl] didn’t have, so I learned a ton.”
It’s not just Saw either. “Everybody screws up. Even when I was an assistant editor, I was in the cutting room for many films. I was really a fly on the wall for a lot of big producers and directors and the dynamic that goes on there. This is all very strange and unpredictable, this process of filmmaking. There are a lot of ways you can mess up. By paying attention, hopefully I learned a few things along the way.”
Saw VI opens to theaters on October 23rd.
For the trailer, posters, interviews and more movie info, go to the Saw VI Movie Page.