I had the chance to speak with Fady Jeanbart, an Egyptian film and television editor who most recently worked on the dark comedy Til Death Do Us Part starring Cam Gigandet (Twilight, Never Back Down). He spoke about how he became involved in this production, as well as his collaboration with director Timothy Woodward Jr. Fady previously worked on seasons 1 and 2 of Studio City, featuring Sean Kanan (Cobra Kai, Young, and the Restless) and beyond his work as an editor, Fady  boasts directing and writing credits and is a member of the Television Academy. Keep reading to learn more about his creative inspirations for the film and what he hopes audiences take away from his work.

Recently you cut the dark comedy thriller film Til Death do us Part. How did you get involved with the production?

Previously, I collaborated closely with the film director, Timothy Woodward Jr. I had the privilege of serving as the editor for his Emmy award-winning TV series, “Studio City” for both Season 1 & 2. Impressed by my editing and recognizing the unique talent I brought to the table, Timothy personally offered me the role of editor for “Til Death Do Us Part”.

Can you describe the working relationship you had with the director of the film, Timothy Woodward Jr.? 

The relationship between a director and an editor is crucial in the filmmaking process. I’ve been fortunate to shape a strong bond with Tim. Our relationship was solidified during the intensive months we spent together editing Studio City, and it grew even deeper during the nearly year-long process of editing Til Death Do Us Part.

Tim is not just a talented director but also a great collaborator. Despite his experience, he fosters an inclusive and encouraging workspace. He treats me as an equal, valuing my ideas and feedback, and this mutual respect has instilled in me both the confidence and fervor to continuously strive for excellence in our shared projects.

How does an editor have a hand in the suspense-building process? Can you describe a scene in the film that exemplifies an editor’s input in building suspense?

Alfred Hitchcock believed in intertwining suspense with information. He would often reveal threats to his audience before the characters were aware, allowing scenes to play out with an underlying tension. By intermittently reminding viewers of imminent danger, Hitchcock sustained and escalated suspense throughout.

Inspired by Hitchcock, I used this technique in Til Death Do Us Part. Given its plot—centering on a bride pursued by murderous groomsmen, it was imperative to infuse ample suspense. In one particular scene, the bride, played by Natalie Burn, locks herself in a basement, a setting we revisited just two scenes prior. This familiarity paired with the suspense I meticulously crafted made for a sequence designed to unsettle viewers and make them feel the danger that it was coming to the protagonist.

Were you inspired by any other horror/thrillers in the cutting of this project, Fady? What were they?

In shaping the tone and rhythm of Til Death Do Us Part, I got inspired from several films. Ready or Not served as a primary influence given its thematic alignment. However, while both movies delve into intense chases and survival, our approach leaned more towards comedy, contrasting with the intense horror tone of Ready or Not.

Additionally, given the action sequences in our film, the dynamic editing and pacing of John Wick was a touchstone for me. By mixing the suspenseful undertones of Ready or Not with the action of John Wick, I aimed to give Til Death Do Us Part its unique flavor, blending tension with lightness.

Can you tell us about a favorite moment of yours from the film?

Editing a film involves a lot of moments that resonate with me deeply. Among these, the premiere screening holds a special place in my heart. There’s an indescribable joy in seeing audience reactions to scenes I’ve crafted. Their immersion and emotional responses validate my choices and fuel my passion to continually hone my storytelling skills. 

Another cherished moment is the initial editing phase (First cut), where I get the first glimpse of the actors’ performances. Experiencing their raw talent and the nuances of their deliveries for the first time is akin to uncovering treasure, reminding me of the collaborative magic that filmmaking truly is.

While Til Death do us Part definitely has a campy horror vibe, there are elements of action and comedy in the film. What was it like to cut these scenes, and how does it differ from cutting other subgenres of horror?

Til Death Do Us Part presented a unique editorial challenge due to its intricate blend of genres – encompassing comedy, action, and thriller. Each sequence was imbued with its own personality and demanded a tailored editing approach. Yet, my overarching aim was to ensure a cohesive narrative that seamlessly stitched these distinct elements together, preserving the storyline’s integrity.

My primary goal was balancing the differing tempos of each genre. For instance, the high-octane momentum of the action scenes had to seamlessly transition into the light-hearted beats of comedic moments. It was essential to craft a rhythm that captivated the audience, all while safeguarding the narrative flow.

A significant part of my editorial role involved shaping the arc of the bride, the protagonist. I used various pacing and storytelling techniques to build an engaging character arc that had audiences empathizing with and cheering for her from beginning to end.

A defining feature of my editing on this project was the treatment of the action sequences. Each high-stakes moment was precision-cut to ramp up tension and maintain a pulsating energy. I strategically toggled between expansive shots, which captured the scope of the action, and intimate close-ups, highlighting the raw emotions.

This approach showcased my adeptness in manipulating the interplay between different shots to guide viewer engagement.

Til Death Do Us Part particularly capitalized on the stark contrast between the wedding setup and the ensuing chaotic chase. Transitioning abruptly from a romantic wedding ambiance to a wild pursuit required innovative editing techniques. My aim was to make this transition smooth and engaging, enhancing the thrill of the unexpected turn of events.

What was the biggest takeaway you had from working on Til Death do us Part, Fady?

Having had the privilege of collaborating with the director, Timothy Woodward Jr., my perspective on the art of film editing underwent a profound transformation.

This partnership highlighted the value of feedback and the profound impact of collective brainstorming. Being immersed in such a collaborative space allowed me to view my work through varied lenses, which in turn refined my craft and elevated the quality of my contributions. My work on projects like Studio City and Til Death Do Us Part have not just developed my editing skills but reinforced my belief in editing as an intricate dance of storytelling and teamwork.

Learn more about Fady and his career via his IMDb, and stay tuned for more interviews here at HorrorBuzz!