Get ready to be blown away by the incredible work of Tom Cross, the Oscar-winning editor behind films like Whiplash and La La Land. In his latest project, First Man, Cross takes us on a journey to the moon, capturing the tense and chaotic moments of the Apollo 11 mission in a way that feels like a documentary. From the stunning visuals to the heart-wrenching performances, every aspect of this film is a masterpiece. And yet, Cross rarely gets the credit he deserves. But we’re here to change that. In this article, we dive deep into Cross’s process for tackling a project as daunting as the moon landing, and what led to some of the decisions he made in the cutting room. So buckle up and get ready to be inspired by the incredible work of one of the industry’s most talented editors.When it comes to making movies, communication is key. That’s why Tom Cross always tries to touch base with Linus Sandgren before the cameras start rolling. The two have worked together on three films now, including the critically acclaimed Joy, La La Land, and First Man. Their relationship is built on a foundation of trust and collaboration, even when they can’t communicate as often as they’d like. During pre-production on First Man, director Damien Chazelle would gather the key department heads together to watch movies that inspired him. This helped everyone get on the same page in terms of references and inspiration.
As an editor, Tom Cross has a unique perspective on the filmmaking process. He’s worked on everything from documentaries to commercials, which means his technical skills are top-notch. When it came to cutting First Man, he found a balance between the vérité style that Chazelle was going for and the need to craft a cohesive narrative. There were certain scenes that required a more documentary-style approach, such as the press conference and mission review scenes. By using the rough, gritty footage that Linus captured, Cross was able to create an experience that felt like an attack on Neil Armstrong.
One of the challenges of making First Man was incorporating visual effects seamlessly into the film. Chazelle had created extensive storyboards for the big action scenes, but for the vérité-style footage, Cross had to find the scenes in the editing room. The animatics that Chazelle created were a helpful blueprint for how he wanted the scenes to be cut, but they also gave the production crew and VFX team a blueprint for certain shots that needed to be recreated.
Despite the challenges, the end result is a stunning film that has been nominated for multiple Oscars. One of the standout sequences is the IMAX sequence, which was a technical feat in and of itself. Cross had to cut the footage in a way that would make the audience feel like they were in the cockpit with Armstrong. It’s a testament to the skill and dedication of everyone involved in making First Man.Get ready to be transported to another world in First Man. The film’s pivotal moment is the IMAX sequence, shot on 15-perf 65mm IMAX with Kodak 5219 using Hasselblad and Zeiss lenses in a quarry outside of Atlanta. The gravel looked similar to the lunar surface, lit by a 200k Soft Sun light attached to a crane 500 feet in the air. The shift from 16mm to IMAX literally expands the screen to 1.43, inviting the audience to participate in a new location and in a participatory experience.
Editor Tom Cross explains how the clarity of the IMAX format influenced the editing style of the sequence. Instead of being cutty, messy, and rough, the richness of the image invited them to slow the pace down, allowing them to linger on shots and focus on tiny details like the richness of the soil and the stitches in the gloves. This shift invites the audience to stay and hold onto shots longer, making them feel like they are in Armstrong’s spacesuit climbing down the ladder and taking the first step on the moon.
Once we’re on the moon, the film tugs at our heartstrings in a number of different ways. Cross cuts to flashbacks of Neil, Janet, and Karen before Karen passed, with no audio except the haunting score from Justin Hurwitz. These private unseen moments of Neil Armstrong on the moon were not in the script, but were found in the editing room by director Damien Chazelle and Cross. They wanted to take a look behind the curtain and show moments that were more personal and intimate, inviting the audience to get into Armstrong’s head and suggest what he might be thinking about.
Chazelle and Cross’s openness to going off script in service of the story didn’t just enhance the moon sequence, but also improved several other moments throughout the film. The unscripted footage gave them unique details that felt more real, reminding them of some of the movies they watched in pre-production. The stark contrast between the space missions and the ordinary mundane earthbound moments is what makes First Man so powerful. Get ready to be enveloped in this new location and experience the emotional effect of this incredible film.Damien always said that “First Man” was going to be about the moon and the kitchen sink. It was a challenge to find the balance between the two, but hearing Tom Cross talk about it blew me away. The film plays out seamlessly from point A to B, leaving little time to stop and think about the narrative. It’s only after the film, or even once Neil is looking out over the crater, that you realize what just happened. The “vérité” style, intentional cutting, and technical aspects of the film kept the story grounded with a simple message – that anyone can achieve momentous occasions and accomplishments, even you.
I asked Cross for advice on starting out as a video editor, and his response applies to anyone in any aspect of film production. He said to always try to edit things, no matter what it is. Whether it’s a short film, a documentary, or a commercial, always try to cut something. The road may be long, but never give up and always edit. All experience, no matter the genre, makes your storytelling better. When you become an editor, you bring all of those things to the table.
Cross started out working on commercials, TV promos, reality TV, documentaries, and fashion videos. All of that experience informed his storytelling and work, and all of it comes into play when he works on feature films. So always be open to learning and working in different styles. You never know who the people are who will give you your big break. Sometimes it’s the people you don’t expect, and the opportunities you don’t think about will be pivotal.
For more in-depth conversations with Editors, DP’s, and Directors, check out our past interviews with Adam Salky, the Editor of Green Book, Set Photographer Matt Kennedy, Composer Dan Marocco, and the Editor behind I, Tonya.
