A former student of the NYC independent film scene in the mid-to-late 90s, Shelly’s time working with directors like Todd Haynes and James L. Brooks set her on a successful path in the Ryan Murphy universe, editing shows such as American Horror Story and Pose.
Season 4 of Only Murders in the Building not only features the beloved trio of Martin Short, Steve Martin, and Selena Gomez but also includes heavy hitters like Molly Shannon, Zach Galifianakis, Eugene Levy, and Eva Longoria. Additionally, Meryl Streep reprises her role, and Melissa McCarthy joins the star-studded cast. Despite the impressive lineup, Shelly and her editing team managed to maintain the show’s grounded and heartfelt nature.
Originally from New York but now residing in LA, Shelly brings a unique perspective to this season of the acclaimed comedy series, incorporating nods to Hollywood classics into her work.
1. Hi Shelly, welcome to OLC! Congratulations on your Emmy nomination for Only Murders in the Building! How did you approach editing the season 4 premiere, “Once Upon a Time in the West,” especially with the episode’s shift from New York to Los Angeles?
Hi, thank you! I delved deep into the episode and experimented with different approaches. Before filming began, we had detailed meetings to understand the showrunner’s vision and attended table reads to get a better feel for the episode. I collaborated with our composer to work on the musical themes, adapting to the slightly different look and soundscape of Los Angeles. Even though the trio returned to NYC quickly, the Hollywood spirit infused the entire season.
2. You’ve worked with directors like Todd Haynes and James L. Brooks and later with Ryan Murphy. How have these experiences influenced your editing style on a show like Only Murders in the Building?
Working with such talented artists has given me confidence and a cinematic approach to editing. I prefer a robust sound design and draw from my experience in various genres to adapt to each unique script.
3. Season 4 introduces a film adaptation of the characters’ podcast. How did you balance the meta, comedic elements of that storyline while maintaining the show’s heart?
We have the freedom to transition from comedy to emotion seamlessly, thanks to our writer’s genius and the actors’ talents. Collaboration with our composer and sound supervisor is crucial in elevating jokes and emotions in the editing process.
4. With a cast including Martin Short, Steve Martin, Meryl Streep, and Selena Gomez, how do you ensure each performance shines without overshadowing the story?
I take direction from the actors and focus on honoring their performances while staying faithful to the script. Trimming scenes can be challenging due to the richness of the performances, but clarity and conciseness are essential.
5. This season features new faces like Molly Shannon, Zach Galifianakis, and Melissa McCarthy. How do you approach editing with such a diverse ensemble?
Watching dailies closely and trusting my storytelling instincts help me navigate the diverse ensemble. Developing strong relationships with the actors and understanding their characters is key in maintaining the show’s rhythm.
6. As a former New Yorker now living in LA, did your personal experiences influence the way you edited the LA-based moments this season?
My love for both NYC and LA allowed me to infuse different scenery into the editing process. Collaborating with my assistant, we enjoyed creating the LA montage and showcasing iconic LA landmarks.
7. Season 4 pays homage to classic Hollywood films. How did you incorporate these nods into the editing process?
We drew inspiration from the original films, incorporating homage in various ways throughout the season. Each episode’s homage added a unique touch, offering something for everyone.
8. You’ve worked on shows like American Horror Story and Pose. How does editing a comedic mystery series like Only Murders differ in tone and pacing?
Editing comedy requires precision in timing and performance, making it a challenging yet rewarding process. Balancing comedy and mystery in Only Murders keeps the editing dynamic and engaging.
9. With the success of Only Murders in the Building, how do you and your team keep the editing fresh and surprising?
We rely on John Hoffman’s creative support and encourage collaboration to maintain the show’s excellence. Constantly experimenting with new sounds and music helps us differentiate each season and keep the show exciting.
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