"David and I got cut out the editing process on that. We were able to affect it more than not. We sent in our notes, we were able to see cuts. We weren't allowed to see dailies and we weren't allowed to sit in the editing room and just work"
About this Quote
The bluntness here is the point: Odenkirk is describing a power struggle without ever naming it as one. “Got cut out” is industry phrasing that doubles as an emotional tell - a clean, almost casual way to admit you’ve been sidelined. Then he immediately walks it back. “We were able to affect it more than not” reads like damage control, the kind performers do when they want to be honest but not radioactive. The sentence tries to reclaim agency even as it documents its limits.
What makes the quote work is the fine print of access. Notes and “seeing cuts” sound participatory, but they’re a controlled channel - feedback at a remove. The real line in the sand is “dailies” and the editing room. Dailies are raw truth; the edit suite is where authorship happens. Being barred from both isn’t a scheduling issue, it’s a statement about who is trusted to shape the story and who is expected to perform inside it.
There’s also a quiet “David” in there - almost certainly David Cross, his longtime collaborator. The pairing signals a creative unit with a shared history of hands-on control. So the context isn’t just one actor complaining; it’s a duo used to steering the tone being reminded that film and TV hierarchies still run on gatekeeping. The subtext is professional restraint: Odenkirk is telling you he lost the fight, but he’s doing it in the only acceptable way - politely, precisely, and with enough ambiguity to keep working.
What makes the quote work is the fine print of access. Notes and “seeing cuts” sound participatory, but they’re a controlled channel - feedback at a remove. The real line in the sand is “dailies” and the editing room. Dailies are raw truth; the edit suite is where authorship happens. Being barred from both isn’t a scheduling issue, it’s a statement about who is trusted to shape the story and who is expected to perform inside it.
There’s also a quiet “David” in there - almost certainly David Cross, his longtime collaborator. The pairing signals a creative unit with a shared history of hands-on control. So the context isn’t just one actor complaining; it’s a duo used to steering the tone being reminded that film and TV hierarchies still run on gatekeeping. The subtext is professional restraint: Odenkirk is telling you he lost the fight, but he’s doing it in the only acceptable way - politely, precisely, and with enough ambiguity to keep working.
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