We sat down with the editor of I, Tonya to discuss cross-genre editing and what it’s like to work on projects of different sizes and budgets.
All images via NEON.
Prepare to be captivated by the audacious biopic, I, Tonya. This film took audiences and festivalgoers by storm last September, earning praise for its narrative prowess and Margot Robbie’s exceptional performance. Based on the true story of controversial figure skater Tonya Harding, the film delves into her Olympic career and the events that shaped her public perception. We had the opportunity to speak with Tatiana S. Riegel, the editor behind this Golden Globe-nominated picture, about the challenges of balancing different tones, collaborating with director Craig Gillespie, and telling the story of a divisive figure in American history.

Despite its low budget, I, Tonya had a quick turnaround. With production wrapping up in Spring 2017, the film aimed for a fall release, hoping to make it into the 2017 Oscar season. This meant that the post-production team had to work tirelessly in the weeks leading up to the film’s premiere at the Toronto Film Festival. Surprisingly, the tight timeline didn’t hinder the editorial crew. Riegel explained that sometimes less is better, as it forces you to make decisive choices. She emphasized the benefits of working with a trusted team under time constraints.
Riegel assured us that they had enough time to accomplish everything they needed. This speaks to her experience and expertise as an editor. When given weeks or months to work on a project, doubt and anxiety can creep in, leading to over-editing. The time crunch for I, Tonya was expected, given the project’s size and release date.
The inspiration for I, Tonya came from the documentary “The Price of Gold,” which writer Steven Rogers watched. After interviewing Tonya Harding and her ex-husband, Rogers discovered their wildly contradictory points of view. This formed the basis for the film’s unique narrative, which