Los Angeles, CA – For the upcoming feature film “Idlewild,” in theaters August 25th, director Bryan Barber tapped Cut + Run Editor David Checel to bring his music video editing experience to the dance and music sequences in the film (the dialogue sections were cut by veteran film editor Anne Gousard). The movie is the feature-directing debut for Barber, the award-winning director and longtime OutKast music video collaborator for whom Checel has edited numerous music videos including OutKast’s “Roses” and Christina Aguilera’s “Ain’t No Other Man.”
Starring multi-platinum and multi-Grammy winning OutKast members André Benjamin (André 3000) and Antwan A. Patton (Big Boi), “Idlewild” tells the story of the loves and ambitions of two struggling performers is told through intricate musical numbers and vibrantly choreographed dance sequences. Set against the backdrop of a 1930s southern speakeasy, “Idlewild” explores the lives of Percival (Benjamin), the club’s shy piano player, and Rooster (Patton), the club’s showy lead performer and manager. The all-star cast is a roster of some of the most notable performers in film and music today and includes new songs from OutKast’s forthcoming album, also titled “Idlewild.”
In addition to the film’s music sequences, Checel cut the film’s title sequence –working hand-in-hand with both Barber and DJ Swiff from Outkast — as well as various transitions throughout the film.
“It was exciting to have the opportunity to work with Bryan on the feature and bring our unique collaboration and process, one forged in music videos, to the long-form realm,” says Checel. “We really see film as very elastic, and did some crazy manipulation of the images, along with high-energy edits, which set the tone for the project overall.”
Adding to his contribution to the feature, Checel edited the accompanying Barber-helmed OutKast music video “Morris Brown,” an effects-driven piece that places the band in fantastic and fanciful locations. For this project, Checel edited much of the video via his laptop at the effects company Moneyshots.
“The music video offered a radically different creative challenge,” he continues, “because each element – all the cars on the roller coaster, for example – were shot separately on green screen and necessitated a constant dialogue between Bryan, me and the Elad Offer of Moneyshots. I worked there so we could all be together and benefit from the continuous exchange of ideas.”