Peter Bogdanovich Had a Vision for This Film

When Aniston arrived nearly 30 minutes late, a producer was worried, according to Wassermann. Wassermann departed,

According to Bogdanovich, so that he could be present for the editing on the West Coast and not feel obliged to stay with his son-in-law, when the production set up a parallel editing bay in Los Angeles with the editor Nick Moore (“Love Actually”) taking a pass on the film.



Moore “Wonderful Time” with Peter Bogdanovich

Moore, who worked on the edit with Bogdanovich for a few weeks before leaving for another engagement, described the experience as a “wonderful time” and said she had no idea the production was chaotic.

His assessment was that it was difficult, but not horrible. “I don’t remember him ever being distressed at all,” Bogdanovich added. To be honest, there were occasions when it seemed like there were pyrotechnics, but he seemed to like them. Fights were his favourite pastime.

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Peter Tonguette Communicated With The Filmmaker

An infrequent Times contributor and author of “Picturing Peter Bogdanovich,” which includes extensive interviews with the director, Peter Tonguette communicated with the filmmaker and saw ten different edits of the picture during its production.

He described the editing process as a “committee approach” in which Bogdanovich chose to “attempt to be part of that committee,” even if he despised the alterations.

Vision of Peter Bogdanovich

He noted that it had been a long time since Bogdanovich had a fiction film in theatres that he had written and directed. “I think he felt it had really affected him in the industry,” he added of Peter going to war with studios in the past.

It was Tonguette’s memory that Bogdanovich had sent him a comprehensive note recommending adjustments to the picture in May 2014, as proof that he was genuinely concerned about improving even a watered-down film. In the end, “a compromised hit is better than no hit at all, so he wasn’t going to go against the movie,” Tonguette said.

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When Kenney saw the “Squirrels” edit, he could tell right away that something was different — and better. A “four-star talent” is operating at “full calibre” regardless of the quality of the picture, he remarked.