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Many of the “earthbound” scenes, set in the Armstrong household and at NASA, were shot and edited in “rough” cinema verité style, with harsh snap zooms, pans, and handheld camera movement.ĭoubling down on the documentary approach, the filmmakers included hours of improvised moments that featured Gosling and Claire Foy, who stars Neil’s first wife Janet Armstrong, “playing house” with the film’s child actors. The first was to shoot and edit like a documentary. To accomplish this feat, Chazelle and Cross took a two-pronged approach to editing the movie. “ wanted the audience to feel what Neil was experiencing,” Cross says.

First Man marks a major shift in approach from the duo’s last two efforts, in that achieving immersion was the principal goal. His latest film stars Ryan Gosling as astronaut Neil Armstrong in his physical and emotional journey to the Moon. “Damien’s goal was to create sequences to be experiential and immersive,” Cross tells Inverse.Ī film industry veteran of 22 years, Cross rose to prominence from his work editing Chazelle’s 2014 drama Whiplash and the 2016 jazz musical La La Land. Working together, they created an enthralling sonic experience that simulates the awesome - and many times, terrifying - feeling of going to the Moon.īut none of it would have happened without film editor Tom Cross, who worked closely with Chazelle to bring the director’s vision to life. Ellis and mixers Lee and Mildred Iatrou Morgan.

But the movie is poised to take home awards for Best Sound Editing and Best Sound Mixing thanks to the hard work of sound editors Jon Taylor, Frank A.

F irst Man, the gripping Neil Armstrong biopic directed by Damien Chazelle, may not be nominated for Best Picture at the Oscars.