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Bombshelter Films is Mike Saenz's production company. Mike Saenz is a filmmaker based in Austin, Texas.

His USC short film, "Casablanca" was an official selection at the Sundance Film Festival. As editor, Mike Saenz has cut feature films and documentaries, both long form and short, for theatrical, TV, and web exhibition. His first feature as editor, “Special,” was selected for the 2006 Sundance Film Festival. He edited “In Perpetuity,” a documentary featurette produced by the USC Shoah Foundation Institute in partnership with Steven Spielberg. The film aired with “Schindler’s List” on HBO.

Saenz edited Richard Linklater's first television series, "Up to Speed," featuring Timothy "Speed" Levitch.

He has worked as assistant editor for Sandra Adair on Richard Linklater's "Bernie," "Before Midnight," and most recently on "Boyhood," which premieres in the 2014 Sundance Film Festival.

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Mike Saenz ’s Editing Reel on Vimeo

News

Sundance 2014: Richard Linklater to debut ambitious ‘Boyhood’ – latimes.com

Boyhood

 

And now it can be told:

I’ve been serving as Sandra Adair’s assistant editor again…this time on Richard Linklater’s “Boyhood,” which will be making its debut in the 2014 Sundance Film Festival.

From the LA Times:

“Linklater and the cast would take a few weeks each year to shoot the movie, essentially filming another chapter in the fictional family’s life, so that you’re watching a child (and his parents) grow up before your eyes. And you’re watching it naturally, not with the swap-in-older-actors, film-it-all-in-six-weeks compressed approach of most movies about family.”

You can check out the rest of the article here:

Sundance 2014: Richard Linklater to debut ambitious ‘Boyhood’ – latimes.com.

One of these days, perhaps soon, I will write a detailed and arcane description of what it was like to post a film over the course of twelve years.

I don’t mean to self-aggrandize, but I can truthfully speculate that it’s a process that I don’t think anybody else has gone through in the history of cinema.

Yeah, that didn’t sound very modest. But I can’t think of another film that shot on 35mm over the course of 12 years and continued cutting on 2002 technology. When we got out of our Delorean, nobody finished films the way they did in 2002. How did we adapt?

It will be a riveting tale of technology’s march forward that will be of interest to about 4 assistant editors in the country. But I’m here to tell that tale.

Soon. Perhaps.

TDG 11A

Public Domain footage from the Prelinger Archive. Editing and soundtrack by Mike Saenz.

Sundance Premiere of “Before Midnight”

So here I am, shortly before the Sundance Film Festival 2013 premiere screening of “Before Midnight.” This picture was taken by editor Sandra Adair. I think by this point of the day, I’d been snowmobiling with Richard Linklater and crew and had cruised my way through the Texas Filmmaker’s party, the “Before Midnight” pre-party, and had somehow found my way through the throngs of people to my seat with the cast/crew. The festivities would continue until past 4 am.

Sundance.

 

 

 

 

 

 

 

 

 

 

 

 

This movie is great. People of normally cynical disposition are throwing around the word, “perfect.” Here’s a review:

Variety: “Before Midnight” is the richest and fullest expression of one of the great modern movie romances.

I’m still working on what to say about all this, but here are some more pictures:

Mike Saenz and Richard Linklater

Here is one of Rick and me.

 

 

 

TXPartyGroup

Here’s another with me, trying to remember to how to hold my head up when taking a picture. Next to me is Post Super Laura Yates, Composer Graham Reynolds, Director Richard Linklater, Editor Sandra Adair, and her husband, Dwight Adair.

 

 

 

 

Before Midnight

Now it can be told. I’m back in assistant editor mode for Richard Linklater’s “Before Midnight,” the third film in his series starring Ethan Hawke and Julie Delpy. We completed principle photography in Greece early this month.

Indiewire breaks the news.

Before Midnight

 

Oh, only the NewFreaking Yorker.

“People ask him how he does it,” Linklater said. “It’s like anything else in art or performance: it’s called fucking talent.”

Pretty awesome quote right there. That’s from a great article about “Up to Speed” from The New Yorker posted by Andrew Marantz.

Rick’s talking about Timothy “Speed” Levitch, by the way. Marantz writes:

Imagine, then, riding a double-decker bus past Sheridan Square and hearing, over the P.A. system, a pinched, manic voice that sounds like Lenny Bruce speaking through a kazoo. “Fear: a basic theme of all of our lives. Afraid on the streets of Greenwich Village under threat of assassination, and the assassins are our dreams.” You are not dreaming. The voice belongs to Timothy (Speed) Levitch, the world’s premier avant-garde tour guide.

The show is set to premiere on Hulu tomorrow, August 9, starting with the San Francisco episode. This is one of the best things I’ve ever cut, and I don’t think I’ll ever get tired of promoting the awesomeness that is “Up to Speed.”

Here’s a clip from the New York episode.