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With photography completed, Bigelow next headed for the editing room, where she worked with Oscar-nominated editors Dylan Tichenor and William Goldenberg, poring through the footage to construct the final story. By then she had shot nearly two million feet of digital footage. "It was a mountain of material," Bigelow notes, "We could have had a cut more than three hours long. But Billy and Dylan were great at helping me cut it down to size."

Another layer of that tapestry emerged from the work of two-time Oscar®-winning sound editor and sound designer Paul N. J. Ottosson, who also worked with Bigelow on THE HURT LOCKER. "The visual is only 180 degrees of the canvas for me and the sound rounds out the other 180 degrees."

The final aural component of the film is a subtly evocative score from four-time Academy Award® nominated composer Alexandre Desplat (THE KING'S SPEECH). Bigelow worked closely with Desplat, over numerous meetings, to find a sound that would complement yet never supersede the film's realistic tone. "Alexandre has a rare ability to juxtapose rich atmosphere with very complex and finely-tuned melodic structures," says Bigelow. "He came up with amazing motifs that are capable of carrying you through a story that evolves over an entire decade.

She concludes, "The ultimate goal for all of us was to bring people into this shadowy, yet vitally important, world that is seen only in the rarest moments, and illuminate its human face."


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