Even with an experienced director, it’s common for the editor to be called on the set when there’s a sticky logistical problem. When shooting a complex action or group scene, filmmakers may need to ask the editor if the shots are “blocked out” (that is, the camera and actors positioned) well enough to get “coverage” (the necessary camera setups and angles) for a scene. The editor, or his assistant, may also be called in for a matching issue. For instance, he may be asked to bring film clips to show what position an actor was in or what he was wearing. Also, if the production is short on time and money, the director may ask the editor if certain coverage is really necessary.
Regardless, it’s unusual for the editor to sit on the set all the time, if only because he needs to be cutting while the rest of the crew is shooting. The director will usually expect to see most of the movie in a first cut after completing “principal photography” (the shooting that involves the entire cast and original crew). “Second unit photography” (shot by a secondary crew that doesn’t require the director or principal actors) may occur before or after principal photography. If the movie is a huge production that has two or more units shooting and an enormous amount of film, the first cut may not be expected to be done by the time filming is completed. However, this is the exception rather than the rule. The director should see the film cut before he releases the crew and cast, in order to know if he needs to reshoot anything. In fact, that extra time is usually built into the initial schedule. Logistics and cast availability can become an expensive problem if the reshoots have to be done later.
If a production company is shooting on location, the editor may not be in the same city, but usually he travels with the company unless the budget is very small. During the shoot the editor’s assistants will prepare the “dailies” (the film shot the previous day to screen for the director and often for the cast and crew). Traditionally, dailies were in a film format, but now, depending on the movie’s budget and the ever-changing technology, they can also be shown on high-definition tape or in a digital format. In fact, the director and editor may sometimes just watch the previous day’s footage together on a computer.
The degree of input the director has when the editor is putting the film together also varies widely. But at the very least the director almost always gives his opinions during dailies. He may select certain shots, and he may want to start a scene from a particular angle. He many prefer specific “takes” (units of film shot from the same angle), a decision which might be based on an actor’s performance. How much cut film the director sees during shooting varies, depending on the number of problems or concerns about the movie — or the director’s confidence in the editor. The maximum input would be the director working with the editor on weekends and during downtime on the set and telling him where to cut. This is rare, and might mean the director has very little faith in the editor, a very big ego, or both. If he knows a great deal about the mechanics of editing, and he has specifically planned his shots to cut together a certain way, he may be more involved. But if the director values the editor’s talent, usually he’ll want to begin by seeing how the editor works with the material. The director will also be able to keep a certain degree of objectivity if he steps back and lets the editor wrestle with the film.
CHAPTER 2
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PULLING OFF THE ACT
THE FIRST CUT
The logistics of making movies are overwhelming and, in fact, each stage of the process will leave behind problems. Whatever the case, only a percentage of the filmmakers’ intentions end up on film, and miracles are not made in the cutting room. Even though an editor can make the most out of a bad script or terrible dailies, he cannot make a good movie out of such material. The editor has to bear the repercussions of this cold reality when he assembles everything. That’s the negative part. But this first cut is also the time of greatest potential for the editor, because he will be in the freshest and most open-minded state when he approaches the movie. Still, it’s a frightening first step when the editor plunges in to find out what he’s really got to work with.
Before the editor even touches the film, though, he has to prepare himself. Initially, he should read the script many times and become as familiar as he can with what the director and writer envisioned. Once he’s internalized the material, he must think about each scene and its context in the whole movie. He should see the script as the blueprint with his editing as the final step of the movie. He is, after all, the last storyteller in the filmmaking process. When at last the filmed scene is sitting in front of him, he should ask himself such questions as:
> What is the scene about? What is its overall function? Where is this scene in the trajectory of the story and in the development of the characters?
> Is the audience supposed to identify with a particular character or are we supposed to hate him? Should that character be dominant or play a secondary role? Should the emphasis or sympathy shift to another character during the course of the scene?
> Are there details that need to be emphasized to reveal character or plot?
> Is there a surprise or shock that has to be set up?
> What are the dramatic arcs or climaxes in the scene, and if there is more than one, which is the most powerful?
> How well does that scene play within the context of the whole movie?
Each editor has a different way of looking at the raw footage. Some editors say that initially they watch it as if they were the audience, while other editors immediately start cutting in their heads as they view the dailies. Regardless, the editor should run the film as many times as he needs to absorb it, logging notes about which angles and takes he and the director like best, along with special moments and particular lines of dialogue.
Then comes the physical part. The editor sits at the computer. He’s absorbed the film and the comments about it, and now he realizes he is about to face a stream of constant decisions. He has three to make right away: what angle and take to use, where to start each shot and where it should end. It seems so simple, until he realizes how nearly limitless his choices are. The good news is that the first cut already dramatically reduces the number of potential choices, but the number of decisions may still feel overwhelming.
The key advice here is that the editor should relax and let the material lead him. He has to trust his instincts and try to see the movie as a whole. Just as an artist does when he makes sculpture out of a piece of clay, he has to first create a basic shape and worry about polishing it later. He should not be overwhelmed by the whole movie, but just take it scene by scene. He shouldn’t count frames, or inch backward and forward over the cuts. This is not math or mechanics. He should just let the cuts be and not get tripped up by subtleties or details, such as an action that doesn’t match up perfectly from shot to shot or a line that can’t be heard clearly. If he over analyzes and second-guesses this early in editing, he may become lost and confused at a very crucial stage.
If the editor finds himself stuck, struggling with a scene and unable to fix it, he should put that scene aside and let it rest. This is also true if he runs a scene and hates what he did. If he lets even a few days pass, he’ll be amazed at how much more objective he’ll be about what needs to be done to fix the problem. Showing it to others, especially assistants or apprentices, can also be helpful, although too many opinions at this stage can be dangerous. The editor should trust that once the film takes shape, it will become more obvious to him where the pacing is too slow, what should be eliminated or moved, and what the problems are.
There are also no hard-and-fast rules that dictate how the editor should approach the material. It depends on the editor, the input he gets from the director, and the needs of the particular scene. An editor might first use the best “master shot” (the all-inclusive shot that establishes characters and their setting), and then run different angles after that, trading them into the shot where necessary. Some editors may choose a different starting point, maybe even a clo
se-up, and build from there. No matter what, the editor should try to put in a version of everything the director shot from the script, unless it’s horrible. This doesn’t mean he must use every angle, since that would bog the movie down. But a first go-through will be longer than the final movie will be. The basic rule of thumb is that the first cut is 10% to 15% longer than the final cut. As the cutting progresses, the film will take on a life of its own, because every movie has its own rhythm, based on the type of story being told, the actors’ performances, and the director’s style.
THE EDITOR AND DIRECTOR GO TO WORK
After the first cut, the director may move right into the cutting room — or, more likely, take a short vacation. If the director has not seen the entire movie before the company “wraps” (finishes shooting), he will at least have seen most of the edited film, and certainly any problematic material that may need to be reshot. After the director’s hiatus, he and the film editor often screen the movie in a small theater to simulate the real viewing experience, rather than watching it on a computer. When the editor and director see this initial assemblage of the movie, it’s their golden moment of objectivity. It’s the closest they will both ever be to the heart, mind, and body of the audience. Once they start picking at it, they’ll both lose that precious distance. Although the director is usually nervous about seeing the first cut, at least he’s not yet susceptible to outside pressure and too many opinions. The downside is that the editor has to help the director deal with the fact that only some of his expectations are captured on film.
In those months when the director and editor are fine-tuning, they will pay a lot of attention to details, but they should always remember their first impressions of the overall movie. They must also remain faithful to their initial concerns, such as whether the main character is likable enough, which characters need to be more developed, what part of the story is confusing, and whether the story is saying what they want it to say. As the director and editor continue to discuss the movie, the editor will become more in tune with the director’s intentions, and he should honor them but also try to surprise the director by going beyond those expectations. Sometimes he will even need to play the devil’s advocate and subvert the director’s expectation. There will be an exchange back and forth between the director and editor working together and the editor working alone. They may run a scene and discuss it at length, and the editor may do some cutting while the director is present. However, he will often want to be alone to struggle with the film after getting the director’s input, especially if it is problematic. Then the editor can totally concentrate, while giving the director some distance before he returns to look at it again. During this process they may juggle a scene or “sequence” (a series of scenes connected by story, time, or place), “lift” scenes (remove them from the edited movie), alter their length, and change takes and angles. They may also undo many of those changes, and then make them again!
This is the time when the editor’s patience, flexibility, and sense of humor will be tested. If the director asks him to do something he’s strongly opposed to, he can voice his objections, but he should still try it. No matter what, the editor should not fall into the trap of thinking he’s right just because he has more technical knowledge or is more familiar with all the film. Being a collaborator is an essential part of the editor’s role. Besides, he’ll never know for sure that something doesn’t work until he tries it.
CHAPTER 3
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MASTERING THE MAGIC
Although it’s often necessary to be flexible when working with the director, here is some advice to keep you, the editor, on track as you master the art of editing:
Concentration is the name of the game.
Because you have to be totally immersed in the film when you cut it, getting organized is a necessary first step to keeping your head clear.
Tell the story and get the good stuff.
This may seem obvious, but if you keep that line in the back of your mind like a mantra, it will help you stay on course. Think of it like telling a good joke, where your timing must be just right and you must know when to wrap it up.
Every story has a beginning, a middle, and an end. Know what’s expected in each section.
Beginning: Open with impact: You’ve got about ten minutes before the audience judges you.
Middle: You must keep the audience caring while you keep the story moving.
End: No matter how much the audience has liked the movie so far, if the ending doesn’t work, you’re dead. You must find a delicate balance with the ending; you should try to make it believable and emotionally satisfying without its being overly predictable.
Movie first, scene second, moment third.
That should be the order of importance whenever a cut is made. Each has to be justified by how well it serves the movie. You can’t hold onto a scene or moment just because you or the director falls in love with a showy piece or something that has personal meaning. The editor should be less susceptible to such ego-driven choices.
As long as it’s working, don’t cut.
Appreciate the values on screen, trust the moment.
Always cut for a reason.
Cut for new information or emotion. Editors have a tendency to over-cut, often to get noticed.
The moment you peak — cut!
Don’t be on the nose, be barely ahead of the audience. Always leave them wanting more.
Never cut for a line, only for a reaction.
If the audience knows what the character is saying, and they’re not going to get more information from seeing that character, cut to someone else who reveals more.
What moves and makes noise attracts attention.
Keep this in mind whenever you need to use sleight-of-hand to distract the audience.
Avoid boring the audience.
It’s the editor’s worst sin. Not only will moviegoers’ minds wander, but so will their eyes. As a result, they’ll notice more mistakes and problems.
Avoid repetition.
Not only with storytelling, but also with visuals. If you have to cut back to the same shot again for some reason, make it shorter every time, since you’re not giving the audience new information.
Avoid confusion.
This is especially true about the audience’s sense of placement. Try to establish the geography of the actors or objects as quickly as possible and then if new actors enter, reestablish them in relation to the other actors.
Look at the movie as a series of arcs.
Both in individual scenes and in the movie overall, you start at one level, build to a climax, then have to lower intensity and start all over again, because there’s nowhere else to go. If you stay at one level, the movie won’t sustain interest, even if it’s all noise and drama. What makes a film interesting is how you structure the highs and lows.
Trust the quiet moments.
Silence and stillness are usually more powerful than their opposites. Editing is often about pausing, watching, and waiting. In the quiet of a dialogue scene, you can create as much suspense as you can in a car chase.
Cut in motion, whenever possible.
Individual shots and entire scenes should, if possible, begin and end with continuous motion, because those transitions makes the cuts appear seamless and keep the momentum going.
Initially, cut longer rather than shorter.
It’s easier to trim down than to add more.
Keep tracking the emotional impact.
Cut for the actors’ eyes or for any other subtle expression that reveals the heart. The slightest change in expression can show depth of feeling.
Figure out how to correct what’s wrong without hurting what’s good.
A change has a domino effect on the value and impact of the film around it.
Don’t presume anything until it’s all put together.
A scene that may have been powerful on its own can fail to work with what comes before or after it. A more su
btle version — or no scene at all — may make the movie play better.
Never say never and never give up.
You should try everything, even making cuts that, logically, should not work. There are so many happy accidents and welcome surprises. Besides, you can always undo what you’ve tried.
Surprise them.
Keeping the audience on edge and off center sustains interest.
Rules are meant to be broken.
Eventually knowledge and experience will help you know how far to push the limits and give you the nerve to follow through on whatever bold choice you make. After all, only after Picasso had the skill and training to depict the human body realistically did he have the guts to paint it all cockeyed!
If you want to shake up the audience, do it for a reason.
A cut that’s meant to be obvious and have visual punch should still serve a purpose.
Editing is about thinking, not cutting.
Don’t jump the gun; sit back and ponder your choices before you act.
The best cut is the one you never see.
The invisible one that pulls the audience along without their knowing it.
The art of editing is the art of trickery.
Don’t remind the audience of the mechanics of moviemaking. Make them believe in the magic.
CHAPTER 4
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MAKING THE INVISIBLE CUT
An editor’s most basic job is to keep the audience unaware that they’re being manipulated by the cuts — unless the editor is intentionally trying to shake up the audience. More often, though, an editor wants to make those cuts seem invisible by having the shots flow together in a smooth, continuous motion. One would think this would be achieved by making a “matched cut,” where the action of the previous shot matches up perfectly with the subsequent shot. But often that is not the case.
The Invisible Cut Page 2
