There’s always a balance in tone and visuals that brings a project together.

Balancing tone in any story can be incredibly complicated. But when you’ve already shot your movie or TV show, and are trying to do it in post, you need a great editor.

That’s where Maura Corey comes in.

Maura received three Emmy nominations for her work at The Oscars and one Eddy nomination for her work on the documentary series Beyond Scared Straight and has had the pleasure to edit projects for Warner Brothers, ABC, and Netflix. Her current projects include Gen VonAmazon and Acapulco on Apple.

Arts & Creativity

We sat down with her to discuss her work on the hilarious Netflix sensational hit, Nobody Wants This.

Let’s dive into the interview.

– YouTubewww.youtube.com

Editor’s note: the following interview is edited for length and clarity.

No Film School: What’s your favorite part about editing a genre-bending comedy like Nobody Wants This?

Maura Corey: I absolutely love editing comedy. Especially comedy that has heart. A show like this has a very delicately balanced tone. The characters are funny, but real. Our heroes Joanne and Noah are falling in love but have the world set against them. There is so much nuance to the pacing, shaping performance, and structure. That makes it especially fun when there are a multitude of emotions that go into one episode.

I love when I can make someone laugh and cry and say “awe” in 30 minutes or less.

Balancing tone in any story can be incredibly complicated. But when you’ve already shot your movie or TV show, and are trying to do it in post, you need a great editor.

That’s where Maura Corey comes in.

Maura received three Emmy nominations for her work at The Oscars and one Eddy nomination for her work on the documentary series Beyond Scared Straight and has had the pleasure to edit projects for Warner Brothers, ABC, and Netflix. Her current projects include Gen VonAmazon and Acapulco on Apple.

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We sat down with her to discuss her work on the hilarious Netflix sensational hit, Nobody Wants This.

Let’s dive into the interview.

– YouTubewww.youtube.com

Editor’s note: the following interview is edited for length and clarity.

No Film School: What’s your favorite part about editing a genre-bending comedy like Nobody Wants This?

Maura Corey: I absolutely love editing comedy. Especially comedy that has heart. A show like this has a very delicately balanced tone. The characters are funny, but real. Our heroes Joanne and Noah are falling in love but have the world set against them. There is so much nuance to the pacing, shaping performance, and structure. That makes it especially fun when there are a multitude of emotions that go into one episode.

I love when I can make someone laugh and cry and say “awe” in 30 minutes or less.

NFS: How closely did you work with the director and writers to shape the series’ comedic timing?

Corey: I was so lucky to work with Greg Mottola on the pilot. He is such a genius at comedy. And this was our first time working together. Oftentimes in television, the director and the editor get paired up out of luck. Which happened here. We’d never met before he got my first cut. Which was weird because each day when I got the dailies I was so excited because the footage was so great. I could see where he was going.

So my first cut was really close to what he had in his head, too. We did explore timing and pacing in the bay. Which was a lot of fun. And then I got to work closely with Erin Foster who wrote the pilot and she was great. We really worked on making sure the characters came off as authentic but funny people. Erin is super funny and she really knew what she wanted. It was great to collaborate with funny smart people.

NFS: Which episode in the series was the most challenging for you, and what made it so?

Corey: The most challenging episode is most definitely the pilot. Time is always a factor and all eyes are on the pilot so there is a lot of pressure to make it good. Because of course there should be. Those are the challenges I love because pressure makes diamonds, right? Also making sure the first impression is the best impression is important.

That’s a challenge I love taking on.

NFS: Episode three has a major shift in tone—how did you balance comedy with the show’s emotional moments?

Corey: In a show like this, a shift in tone works because the characters feel real. A lot has to do with the amazing performances we get with the actors. Kristen Bell and Adam Brody are great with the funny lines, but also with the emotional scenes. They play the scenes as real people. And real people can go through emotional shifts. So having the material to really shape the characters’ journeys is a huge first step.

‘Nobody Wants This’ Editor Maura Corey Explains Cutting For Comedic Timing

There’s always a balance in tone and visuals that brings a project together.

Nobody Wants This

Netflix

Balancing tone in any story can be incredibly complicated. But when you’ve already shot your movie or TV show, and are trying to do it in post, you need a great editor.

That’s where Maura Corey comes in.

Maura received three Emmy nominations for her work at The Oscars and one Eddy nomination for her work on the documentary series Beyond Scared Straight and has had the pleasure to edit projects for Warner Brothers, ABC, and Netflix. Her current projects include Gen VonAmazon and Acapulco on Apple.

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Subway Surfers Gameplaygame

[Gallery] She Never Married And Now We Know WhyDailySportX

We sat down with her to discuss her work on the hilarious Netflix sensational hit, Nobody Wants This.

Let’s dive into the interview.

– YouTubewww.youtube.com

Editor’s note: the following interview is edited for length and clarity.

No Film School: What’s your favorite part about editing a genre-bending comedy like Nobody Wants This?

Maura Corey: I absolutely love editing comedy. Especially comedy that has heart. A show like this has a very delicately balanced tone. The characters are funny, but real. Our heroes Joanne and Noah are falling in love but have the world set against them. There is so much nuance to the pacing, shaping performance, and structure. That makes it especially fun when there are a multitude of emotions that go into one episode.

I love when I can make someone laugh and cry and say “awe” in 30 minutes or less.

NFS: How closely did you work with the director and writers to shape the series’ comedic timing?

Corey: I was so lucky to work with Greg Mottola on the pilot. He is such a genius at comedy. And this was our first time working together. Oftentimes in television, the director and the editor get paired up out of luck. Which happened here. We’d never met before he got my first cut. Which was weird because each day when I got the dailies I was so excited because the footage was so great. I could see where he was going.

So my first cut was really close to what he had in his head, too. We did explore timing and pacing in the bay. Which was a lot of fun. And then I got to work closely with Erin Foster who wrote the pilot and she was great. We really worked on making sure the characters came off as authentic but funny people. Erin is super funny and she really knew what she wanted. It was great to collaborate with funny smart people.

NFS: Which episode in the series was the most challenging for you, and what made it so?

Corey: The most challenging episode is most definitely the pilot. Time is always a factor and all eyes are on the pilot so there is a lot of pressure to make it good. Because of course there should be. Those are the challenges I love because pressure makes diamonds, right? Also making sure the first impression is the best impression is important.

That’s a challenge I love taking on.

NFS: Episode three has a major shift in tone—how did you balance comedy with the show’s emotional moments?

Corey: In a show like this, a shift in tone works because the characters feel real. A lot has to do with the amazing performances we get with the actors. Kristen Bell and Adam Brody are great with the funny lines, but also with the emotional scenes. They play the scenes as real people. And real people can go through emotional shifts. So having the material to really shape the characters’ journeys is a huge first step.

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