Duck into any number of industry -- and likely public -- screenings of Ben Affleck's "Argo" in the final moments of the film, and you're sure to hear a big burst of applause. It happens at the same moment every time: CIA agent Tony Mendez (Affleck) peers out the window of a plane he and six American embassy workers have boarded to flee Iran under the guise of a film crew as a number of soldiers wise to their plans at the last minute chase the flight down. The plane gains momentum then it's wheels up and, after a tense moment, clarity sets: they got away.
It's fair to attribute that burst of applause to the release of tension. The nail-biting final sequence of the film builds to a crescendo and is expertly assembled to play on that tension. But for editor William Goldenberg, with those kinds of sequences, you have to remain focused on the characters.
"That’s what I try to keep in my mind when I’m cutting it," Goldenberg says. "You’re trying to put the audience in the head of these people and not just make it about the event but the story of each person and what they’re going through, always keeping it personal. And luckily for me, the actors were all so good at being in the moment, being terrified but being under control at the same time. It made for great editing opportunities.