Every accomplished filmmaker acknowledges that creating a cinematic masterpiece is a collaborative effort, and for Paul Thomas Anderson, editor Andy Jurgensen has been an indispensable partner. Ahead of his first Academy Award nomination for Best Editing for the film One Battle After Another, Jurgensen reflects on his journey and the fortuitous circumstances that led him to Anderson's inner circle. His involvement with Anderson began as an editor's assistant on acclaimed movies like Inherent Vice and Phantom Thread, gradually deepening through his editing work on various musical projects with artists such as Joanna Newsom, Haim, and Radiohead's Thom Yorke and Jonny Greenwood. A scheduling conflict for another editor serendipitously opened the door for Jurgensen to take on Licorice Pizza, solidifying his place within Anderson's trusted team.

Jurgensen's initial collaborations with Paul Thomas Anderson often revolved around music. He vividly recalls the rapid pace of editing the Haim music video "Lost Track," which was rushed to be included with the re-release of Licorice Pizza. He notes that the band's willingness to "go with the flow" is why Anderson continues to work with them, considering them part of the creative family. The transition from assistant editor to a more involved role began with experimental Joanna Newsom videos. Anderson, seeking a fresh perspective, invited Jurgensen to use the editing system rented for Phantom Thread to explore possibilities with existing footage. This led to larger projects, including a Radiohead music video and the documentary Junun, where Jurgensen, still an assistant editor on other films, worked with Anderson at night and on weekends to shape the raw footage shot with Jonny Greenwood in India. Through these experiences, Jurgensen developed a unique working relationship and shorthand with Anderson, understanding his sensibilities and even anticipating his preferences.

Taking on Licorice Pizza as his first feature-length editing project presented a significant challenge. Jurgensen admits to apprehension, especially given the film's distinct musicality, which, while not a music video, relied heavily on "needle drops." The subsequent project, One Battle After Another, with its "crazy, epic movie" script, felt even more daunting, requiring new skills like editing car chases. Despite larger budgets, Anderson maintains a "scrappy mentality," preferring a small, core group on set, even for action sequences. Daily screenings, a practice Anderson has maintained for 25 years, were crucial, with the luxury of taking a projector to various locations. Jurgensen would take meticulous notes during these screenings, observing takes, considering musical ideas from Jonny Greenwood, and assessing initial scene feelings. A significant production break, awaiting actor Benicio del Toro, allowed Jurgensen and Anderson to collaboratively build entire sequences, including the prologue and high school scenes, enabling them to identify remaining shot requirements before resuming principal photography.

The car chase sequence in One Battle After Another was a particularly unique challenge for Jurgensen. Described as an "anti-car chase," it deviated from typical high-octane action. Anderson provided a shot list rather than a storyboard, and extensive tests were conducted on the road to perfect point-of-view shots, capturing the landscape and cars appearing and disappearing. The mirrors played a critical, Hitchcockian role, emphasizing the slow, creeping approach of danger. Jurgensen built the sequence digitally from dailies, selecting the best perspectives, and then returned to the location for additional pickups to enhance specific moments. The editing involved meticulously tightening the sequence, sometimes shaving off "two frames, three frames off the head of this," to achieve perfect timing, especially in sync with Jonny Greenwood's propulsive musical score. These subtle adjustments continued even into the final mix.

Anderson's films are known for masterfully balancing levity and intensity, a philosophy Jurgensen embraces in his editing. He notes that humor is always present in Anderson's movies, even in seemingly serious ones like Phantom Thread, which has comedic elements. This mix of genres makes the message more effective and feels more real, mirroring life's complexities. Structurally, Anderson understands the need for tension to build and then provide relief, allowing the audience to breathe before building up again. Scenes like the "Christmas Adventurers" serve as moments of respite. Test screenings with a diverse audience were vital to assess these tonal shifts, ensuring humor landed correctly and identifying opportunities to push it further.

The DNA test sequence in One Battle After Another was identified by Jurgensen as the most satisfying to "crack." Initially much longer, portraying characters waiting for results with extended banter, it felt off despite its dramatic and comedic elements, partly due to a lack of music. The team drastically pared it down to its essentials, reincorporating previously discarded cutaways of Danvers and D'Andra, and even reordering lines to create a more dynamic "tit-for-tat" exchange. Crucially, Jonny Greenwood's military-feel, ticking-clock music was added, instantly creating a sense of palpable tension. This sequence required numerous iterations to achieve the right balance of substance and conciseness, given its late placement in the film, leading up to a pivotal meeting.

The collaborative nature extends beyond the director-editor relationship. Maya Rudolph, Anderson's partner, provides valuable feedback, particularly on humor, during early screenings. The core crew, including director of photography Michael Baumann and producer Sara Murphy, also contribute. Unlike some directors who keep cuts private, Anderson is open to sharing sections of the movie with trusted individuals, including actors, for their input. They also utilize test audiences unfamiliar with the project to gauge objective responses. Jonny Greenwood is often among the first to see the film, sending music during production and having ongoing discussions with Anderson. Their creative relationship thrives on their shared unconventional sensibilities, making Greenwood an integral part of the editing and scoring process.