“There’s a chorus-verse-chorus element to (Alice Neel) where we go into her life, then we come flash forward into my life and then we go back to her life…What (editor Luke Meyer) was trying to achieve, and I think he did a really good job of it, was making that chorus-verse-chorus work together in a cohesive way.

One of the important things we’ve done you’ll notice sometimes is to allow some shots to run a little longer than you might normally–for instance, the scene with the turkey in the field. In that case, we really did something that was unorthodox and let the shot and scene run long to break that chorus-verse-chorus rhythm and the predictable progression of the biopic.

“In a more subtle way, you’ll notice at the end with my father, when he’s talking about bliss…–the statement “Follow your bliss” is kind of a chessy statement. I feel like Apple markets their iPod with that statement–but, by editing (the scene) correctly, by allowing the shot to run after that and by allowing him to have an introspective moment to then say “I don’t think I can verbalize everything,” that was a very smart editing decision. Luke and I had a lot arguments about that sort of stuff throughout the film, and you see the fruits of our collaboration in that.”~Andrew Neel (Darkon, Alice Neel)