You're listening to an Airwave Media podcast. Hey folks, welcome to a special bonus interview.

Here is the rest of our interview with M. Scott Smith, where he's talking about some various editing projects that

he's worked on over the years. We're talking about mobsters. We're talking about the crow.

We're talking about Dark Man. Some good stuff here. I didn't want to leave it on the cutting

room floor. Thank you very much. And enjoy.

You've worked on so many fascinating projects. I mean, stuff that I'm a big fan of, especially, you know, things like Dark Man and The Crow.

I mean, The Crow had to have been quite an amazing editing job just because of the tragedy that happened on set,

try to salvage that film.

You know, that was one of those, you didn't see it coming.

And when it happened, it was very a powerful, powerful recognition of what had happened

to him, how it happened, and who was at fault.

When they were shooting, when we were working on the crow, the majority of the stuff

was shot at night.

And so I would come in during the day, and I would do my day work.

You know, I'd cut a bunch of stuff and do what I normally do.

And the crew would come in in the evening and they would shoot all night.

So then like the next day, I'd get the dailies and we'd, you know, just I'd run the stuff for the director before they'd go out and shoot.

And I'd just continue to cut. And I came into the building one day and they said, what are you doing here? And I kind of looked at the production secretary and said, what do you mean? She said, well, you must not know, Brandon got shot last night. I said, what? And that was a, it was just like, you know, one of those like, are you kidding me moments? And they said, yeah, no, come on. Let's go into your editing room. I need to talk to you. And then the producer, Bob Rosen, wants to see you. And so they proceeded to tell me about what happened. I was like blown away. And, you know, how could this happen? And I'll kind of abbreviate the story.

But then I spoke with the producer and he kind of came in, closed the door and said, look,

Scott, what I need for you to do is to pack up everything, take it back to Los Angeles.

I'm going to put you into an editing room.

It's going to be a nondescript location. He said, I just basically want you to close the

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