Editor Maura Corey, ACE, recently worked on Amazon’s Gen V, a spinoff of the hit series
Gen V expands the universe of
The Boys to Godolkin University, a prestigious superhero-only college where students train to be the next generation of heroes. For
Gen V, Corey acted as lead picture editor on Episodes 104 and 108, which includes the series’ finale. Her editing style reflects her ability to combine both dramatic and comedic scenes. Corey recently shared with
Post, details on her background and career accomplishments.
Maura, can you share with us how got started in the industry?
“I got started in the industry as I was finishing up film school at Columbia College in Chicago. My last year there I was offered an internship at a commercial post production facility called Optimus. After my internship, I was offered a job in their vault checking in tapes and shipping out assets. After a short time in the vault, I was fortunate enough to move up to assistant editor.
“After about a year in Chicago, I decided to take my chances and move to Los Angeles. I secured an AE position at a commercial post production facility In LA called Filmcore, where I assisted and eventually moved up to junior editor. It was there I got my very first editing job doing a roll in package for The Oscars. It was for Dino De Laurentis, who was receiving the Thalberg Award.
“It was so much fun to edit, and I even got to meet Anthony Hopkins, who narrated the piece. I received the first of my three Emmy nominations for working on The Oscars, which was wild. I had no idea you could be nominated for an Emmy for working on an awards show. I was very green.
“After my experience on the Oscars, I decided to leave commercials and try my hand at long form. I found my way into unscripted editing, working on projects like America’s Got Talent, Couples Therapy and Beyond Scared Straight, where I earned my Eddie nomination. Because of my background in unscripted, I was offered a job on an improvised comedy for TBS called 10 Items or Less, with John Lehr and Nancy Hower. Since there was no script, they wanted people who could sift through vast amounts of footage to create scenes.
“It was there that a light switch turned on. I loved comedy and I loved doing narrative. And I decided to set my sights on scripted comedy. This passion eventually led me to Key and Peele. From there I worked on a few comedies and eventually found my way to drama by way of Michele Fazekas and Tara Butters. They were looking for a comedy editor for an ABC dramedy they were working on called Kevin Probably Saves the World. It occurred to me I loved working on drama as well. In fact, it’s telling stories that I love, so I feel very fortunate that am able to genre hop between comedy and drama with shows like Kevin Can F*** Himself for AMC to Acapulco for Apple TV+ to Gen V for Amazon.”
What can you tell us about your current position and recent work?
“My recent project that has dropped was once again working with Michele Fazekas and Tara Butters on Gen V, the spin off for The Boys. It was such a treat because I am a huge fan of Eric Kripke and The Boys, and of course Michele and Tara. I jumped at the chance to be on the project. And as it turned out, I was lucky enough to get to edit Episode 4, which introduced Tek Knight, and the finale, which was a blast. Working with action and VFX is so much fun and challenging. And being able to tie up Season 1 was crazy fun.
“After Gen V I jumped back into comedy and edited Season 3 of Acapulco. I had edited Season 1, but due to scheduling conflicts, could not return for Season 2, so I was super happy I was able to jump back on for Season 3. Being able to work with Austin Winsberg, the show runner, and director/EP Jay Karas, was a treat. I love working with people I connect with, so both these projects were amazing to work on.”
What is your editing set up for shows like Gen V?
“Gen V we worked on Avid, which is such a great platform. Me and my assistant, Jen Rosenthal, and the VFX editor, Andrew Cohen, worked together on our two episodes using Boris, ani-mattes and After Effects to temp out all the superpowers to create action timings. Avid is so multi-user friendly, it helped us keep organized and efficient. We were working mostly remote, so being able to be in the same projects was super helpful. Also, using Boris plug-ins for camera shakes and temp VFX really helped us finesse the edits. It is super helpful when trying to sell a cut to producers that you have something for them to see temp VFX-wise. That way we can collaborate on what potential the shots can bring.”
What else can you tell us about some of your credits?
“My last three projects have been so great. Gen V is such a rich satire. Michele Fazekas, Tara Butters wrote an amazing arc, and working with Eric Kripke was fantastic. Also, I love being a part of a franchise that has so much to say. And satire is such a fine line to walk when it comes to tone. I love weaving the comedy, drama and action all in one episode.
“And then there is Acapulco, which is a straight up 30-minute comedy, and it is so charming. It’s a throwback to the ‘80s, and being able to tell stories with music and nostalgia is such a treat. Finding the character moments to ground a scene while still managing the comedy is the trick. I always say, if I’m not crying or laughing at work, I’m not doing my job.
“And finally Kevin Can F*** Himself for AMC was huge for me. I absolutely loved Season 1, so when I got the call to interview for Season 2, I basically told them they had to hire me. Valerie Armstrong wrote such an amazing genre-bending show, blending single camera drama and multi-cam comedy. I felt like that show cut itself almost. The footage told me what it wanted to do.”
Can you share some advice that you’d give to young talent trying to build their own careers?
“The best advice I can give any young person is to advocate for yourself. Let people know what you want to do. When I started out at Optimus, I remember sitting in one of the editor’s rooms, just hanging out. And the editor, Randy Palmer, said ‘What do you want to do?’ And I answered, ‘I want to edit, obviously.’ He said, ‘Oh, I didn’t know. You should tell people that, otherwise they might look you over.’ So I think anyone who wants to be in the chair, tell someone, and ask them to edit something. Ask them if they need help? Develop a network and let people know what you want. I’ve heeded that advice throughout my career, and it works. When I wanted to switch from unscripted to scripted, I told everyone that would listen I wanted to do scripted, and it eventually led me to scripted work. So be your own hype man.”
What’s next for you?
“Gen V was such a treat to work on, and seeing how everyone is embracing the show has been spectacular. Next, I am looking forward to Acapulco to drop. Season 3 is as charming as Season 1 and 2, and I’m very proud to be a part of the show. Lastly, I’m looking forward to new and exciting challenges yet to come. The best thing about this business is it’s freelance and you never know what is around the next corner. It’s exciting!”