Kayden Kross sits down with musician Brad Oberhofer for an interview that doesn't exactly go according to plan.
What begins as a conventional artist conversation gradually becomes something stranger: a deliberately self-aware segment in which the increasingly difficult interview—and the editor trying to make sense of it—become part of the show.
Sometimes the most interesting solution in the edit is to stop pretending the problem isn't there.
Kayden's interview with Oberhofer had gone off the rails several times during production, leaving me with material that was extremely difficult to shape into a conventional artist profile. I worked with the footage for a while and eventually reached the point where I was considering abandoning the segment altogether.
Then I realized the struggle to edit the interview could become the premise.
Instead of trying to hide the awkward turns and difficult moments, I inserted myself into the piece as the increasingly frustrated editor attempting to construct a usable segment from what had been captured. The audience could now experience both the interview and the process of trying to edit it.
That transformed a production problem into a deliberately meta piece of television. Editing wasn't simply the mechanism used to repair the footage—it became part of the narrative and the joke.
The segment is one of my favorite examples of creative problem-solving in post: when the footage wouldn't support the story we originally intended to tell, I found a different story already hiding inside it.