POST-PRODUCTION NOTES
EVERYDAY FOREVER has a three-day layout, but beyond that the editorial approach is unconventional. I was definitely inspired by ’60s avant-garde short fiction writers like Barthelme and Borges to push the limits of storytelling.
The narrative structure is not necessarily “non-linear” — it’s more of a ‘layered spiral’, where each day is created from remembered moments, places frequented, and words repeated across time.
Layered frames suggest moments overlaid in time. In others, William’s POV is held simultaneously against our perspective of him. This reflects our own experience of the film— inhabiting and observing its main character at once.
The film is also conveyed from a unique point of view, one revealed in the film’s third act. This ‘twist’ significantly changes the viewer’s understanding of the narrative, and makes repeat viewing a completely different experience.
Editorial and sound design also mirrors the connection between father and son. Together their consciousness frames the situation; through memories, symbols and words they communicate, even as they drift apart in the void. Key sounds and dialogue call forward and back throughout to provide points of connection and understanding. Direct respect is paid here to the approach and influence of Walter Murch.
The possibility that through William we are experiencing three days in the ‘bardo’ between lives is worth considering. An equally valid reading would be that this edit represents the consciousness of a person going through a hard time. What exactly happened, who and where the story is coming from, and what it all means are left to personal interpretation. My goal was a cut that fully supported these different readings of the story while retaining cinematic and emotional payoffs.
POST-PRODUCTION LEADS
Colorist Dino Dumandan helped unify the film’s look across several cameras and to create a visual progression that mirrored the emotional world of the film.
Visual Effects Artist Max Herholz created effects shots we could not achieve in-camera (and was invaluable in erasing all the mic packs and sandbags that inevitably crept into the shot).
Composer Paul Apelgren has worked as Music Editor for Oscar-winning Composer Michael Giacchino and others on countless studio films and is a musical savant. We were beyond fortunate to have him write, perform and produce this elegant, intricate score.
Sound Mixer Alex Borquez at Sabre Media Studios brought years of industry experience to our final mix, helping dial in the music, sound, and dialogue in 5.1 Surround and Stereo formats for theatrical, physical, and streaming distribution.