American editor Varun Viswanath, who grew up as a Tamil-Malayali Bengaluru boy, had a rather chaotic yet typical morning, wrangling his son into the car before being hit with a storm of notifications on his phone. The unexpected call was from Patrick, his co-editor, who rarely reaches out for casual updates. “We did it! We got nominated!” Patrick exclaimed, marking a significant milestone for Varun, who received his first-ever Emmy nomination. For Varun, this moment felt a world away from his younger days in Bengaluru, handling stage lights with the kind of fervor that hinted at his future vocation.
At the age of 18, Varun’s life took a transformative turn when he earned a scholarship to study in Singapore, a move that deviated from the conventional paths often pursued by those in the Indian diaspora. While many of his peers focused on prestigious companies like Sony and Nokia, Varun found his passion in extra-curricular activities related to stage and screen. Initially aspiring to be an engineer, he gradually realized his true calling as a storyteller.
The 2008 financial crisis served as a pivotal point for Varun. The stability of the corporate world began to lose its attractiveness, pushing him toward the chaotic yet fulfilling realm of filmmaking. An incidental connection with director Anurag Kashyap, who optioned a book written by a friend, served as the catalyst for this shift. A feature film shot on a modest budget in Singapore proved to be a turning point in his career.
Disguising his artistic ambitions behind MBA applications, Varun secured a spot in the American Film Institute’s (AFI) prestigious editing program. Here, surrounded by classmates who were already Emmy winners and professors involved in high-profile projects like Game of Thrones, Varun found his community.
Despite his thesis film receiving a Student Academy Award nomination, Varun began his professional journey in the United States with a humbling stint as a night-shift assistant editor on a reality show. He humorously recalls this period as “bottom-of-the-barrel stuff.”
An apprenticeship under seasoned editors provided Varun with one of his first significant breaks as an assistant editor on the popular show Arrested Development. However, it was his work on Taika Waititi’s vampire mockumentary, What We Do in the Shadows, that marked his ascent in the industry. His innovative editing on the comedy series earned him a nomination for the American Cinema Editors (ACE) Eddie Award and subsequent ACE accreditation.
Soon after, Varun found his magnum opus in Reservation Dogs. From an indie pilot to a critically acclaimed series, his editing, in collaboration with co-editor Patrick Tuck, has been crucial in capturing the authentic voices of the Indigenous stars in rural Oklahoma. The series’ success led to multiple Emmy nominations for its third and final season, a recognition many believe was long overdue.
As Varun stands on the brink of his first Emmy win, he reflects on his experiences in the cutting room for Reservation Dogs and the response to his Television Academy nomination.
Discussing the distinct editing styles between Reservation Dogs and What We Do in the Shadows, Varun explains, “The rhythms, the cadence, everything is different. With Reservation Dogs, it’s about depicting real people and staying grounded. In Shadows, you’re working with absurd characters, so it’s easier to dive into that world. However, the style of comedy, with its misunderstandings, awkward silences, and rapid-fire offbeat characters, remains quite similar.”
Varun acknowledges the influence of Taika Waititi’s grounded approach in his indie films, which carries over to Reservation Dogs. “More than Taika’s influence, it’s really Sterlin Harjo’s vision that shines through,” he adds.
Initially hesitant to join Reservation Dogs due to his limited understanding of American rural culture, Varun found unexpected similarities with his upbringing.
. “The community and family feel reminded me of my own childhood. It’s about treating everyone like family, even if you’re not directly related. The show is about the entire community around the teenagers, not just a high school hangout.”
Varun frequently explores themes of belonging, place, community, and connection in his storytelling. “I’m drawn to stories that populate the screen with enough detail for both insiders and outsiders to connect. My journey, moving between countries and constantly searching for a sense of belonging, has deeply shaped my storytelling.”
Life in Singapore felt culturally and socially restrictive for Varun. “I didn’t feel a sense of belonging there, which was challenging. But in LA, working in this industry, I found a community that appreciates diverse backgrounds. This sense of belonging is something I strive to incorporate into my work.”
Regarding the reception of Native American art, Varun notes a prevalent disinterest rather than a failure of understanding. “People tend to have a limited, stereotypical view of Native Americans. Reservation Dogs leverages this by making fun of these stereotypes and allowing non-native viewers to laugh with them. Over time, audiences began to appreciate the comedy and compelling characters.”
Reflecting on a personal story, Varun shares, “My dad didn’t understand the humor, but that’s okay. Not every creative swing hits home with everyone. In Hollywood, they’ve realized that enough people will appreciate and watch it to make it worthwhile.”
Discussing the editing process for Reservation Dogs, Varun emphasizes the importance of tonal balance, often erring on the side of comedy. “We faced challenges with overly lengthy scenes and made editorial decisions to keep essential elements. Even in intense moments, we pulled back with a joke, sandwiching dramatic scenes with comedy.”
Although the Emmy nomination is still sinking in, Varun is engaging thoughtfully with the recognition. “My phone has been buzzing with congratulatory messages. While the buzz is still muted, I’m gradually adjusting to it.”
Wrapping up, Varun reflects on his family’s reactions, sharing a humorous anecdote. “My mom often says, ‘Indha English padam pathi onnumey theriyadhu da!’ (I can’t make head or tail of English films/shows). That’s how these past few days have felt for me. I’m trying to process it all thoughtfully.”
All seasons of FX’s Reservation Dogs are currently streaming on Hotstar.
