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Mollo added that the Ozark experience has вЂњgiven me a nice feeling of confidence, that IвЂ™ve made a lot of right decisions and that I can take this great toolbox with me for the next job.вЂќДЄs for what that next gig is, Mollo at press time had embarked on The Last of Us, a HBO series based on the video game of the same name. IвЂ™m grateful the show found an audience-to have people seeing the work and connecting with it.вЂќ I had that for the four seasons of Ozark. You also have to be lucky enough to have great casting. If the writing is good, then you have a shot at making something wonderful. I always promised myself I would continue to work with the best writers first and foremost, and the best directors I could find. вЂњI left great writing, a great ensemble cast, a wonderful work situation. вЂњI said it almost naively-that вЂif IвЂ™m going to go to L.A., IвЂ™m only going to work on the best writing I can find,вЂ™вЂќ recalled Mollo. But it never became four years of the вЂsame old same old.вЂ™ Everyone grew and expanded over the course of four seasons.вЂќДЇor Mollo, Ozark was validating-perhaps mostly for the mindset she had when she left Homicide: Life on the Street in New York to come to L.A. We kept in that tone and style that we had set up. Those conversations about characters with Chris [Mundy} were some of my favorite moments of the four seasons-or talking to Jason about the articulation of the performances. The comedy came from the characters and the behavior. ThereвЂ™s a gallows humor, almost like denying a situation youвЂ™re in with a little comic relief. Even in dire circumstances, a character would make a joke. Mollo never took for granted the vast emotional and narrative range of that gift, noting that Ozark is a drama but at times is funny вЂњbecause people are just funny. вЂњYou can play, put scenes together.вЂќ The performances, she said, were вЂњa giftвЂќ for an editor. вЂњThe cast was so good you could choose from among almost every take of a scene,вЂќ said Mollo. The foundation and the experimentation to build upon it were due in large part to a cast headed by Bateman and Laura Linney. When you have that tucked under your arm and youвЂ™re secure about having that to work with, then you can experiment and play a little bit.вЂќ As an editor, you know their rhythm, the beats you need to get for the story. вЂњBasically, though, we had the Byrd family. вЂњWe had the same actors for the most part, with great secondary characters in later seasons,вЂќ said Mollo. She settled in but never settled as the show continually grew in its scope and ambition under the aegis of showrunner Chris Mundy and actor-producer-director Jason Bateman. But when Ozark came along, instinct told me that this was a place I could stay around and settle in for awhile.вЂќ But since then I hadnвЂ™t been on a show with that much continuity. вЂњAt the very beginning of my career, I worked on Homicide: Life on the Street,вЂќ recalled Mollo, having cut that series for five-and-a-half years of its seven-year run. Looking back, Mollo had a hunch that the show would be a long-term home for her. She has been on the show for all four of its seasons, a most gratifying tenure.

Mollo is now once again in Emmy contention for her work on the final season of Ozark. MolloвЂ™s first two Emmy noms came for the telefilm Dash and Lilly in 1999 and an episode of Mad Men in 2009.

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In вЂ19 Mollo actually garnered a pair of nods, the other coming for Deadwood: The Movie (shared with Martin Nicholson and Erick Fefferman).

Cindy Mollo, ACE is a five-time Emmy nominee, the last two coming for her editing on Ozark (Netflix) in 2019 (shared with Heather Goodwin Floyd) and 2020.

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