This is an eye-grabbing, succulent book that helps you understand visually rather than in words, how those incredibly short pieces of film shot on the set or location come together to create a movie – a kinetic, visceral sensation that can leave you breathless, moved, or profoundly transported. D.W. Griffith, the father of American filmmaking, famously wrote, “Above all, I am trying to make you see.” Gael Chandler does exactly that.
— Howard Suber, Founding Chair, UCLA Film & Television Producers Program, author, The Power of Film
Those of us in the movie business often say that if we notice something, that means we didn’t do a good job. Our job as filmmakers, is to do what we do as seamlessly as possible. Gael Chandler takes a microscope to those seams to show the subtleties and techniques used by seasoned professionals, using words and pictures that an average movie-goer or up-and-coming filmmaker can appreciate and experiment with. This dissection, together with quotes of working directors and editors, make Film Editing a practical and aesthetic addition to the arsenal of any film buff, film student or filmmaker.
— Victoria Rose Sampson, writer, director, film and sound editor; MPSE Award for Best Sound Editing: Pirates of the Caribbean: Curse of the Black Pearl, Speed, Romancing the Stone, The River; Grand prize winner for writing and directing, Harley-Davidson commercial contest short film, Her Need for Speed
Lots of books will teach you editing software. This book shows you what moving-image media does to captivate an audience – how to create art. Buy those other books to learn the technology. Buy this one to learn the art of editing.
— John Morley, author, Scriptwriting for High-Impact Videos
In this book Gael Chandler illustrates the language of film editing in a clear and precise way. She explains the grammar and parses the sentences so that everyone can easily understand it and begin to communicate in this visual prose. After reading this book, aspiring filmmakers as well as lovers of film will have a deeper appreciation of the invisible art. I imagine it will be required reading for every entry level editing course.
— Bill Pankow, A.C.E., Emmy and Cesar-nominated editor, The Black Dahlia, The Corner (TV series), The Tic Code, Carlito’s Way, Casualties of War, The Untouchables
In Film Editing, Gael Chandler has managed to translate film theory to the printed page in a way that is accessible, thorough and fun! The theories and thoughts she clearly offers here are essential to understanding the art of film editing.
— Fred Peterson, editor, Without a Trace, Third Watch, Providence, Early Edition, Homefront
Sophisticated yet easy to follow, chock full of contemporary examples, this book is about much more than editing. Understanding the principles which Chandler so clearly explains will help directors plan their shots and editors maximize the dramatic impact of a film. As a veteran film educator and director, I can think of no better book to help demystify this elusive art.
— Mary Beth Fielder, senior lecturer, USC School of Cinematic Arts
Gael Chandler’s insightful book on editing is a dream for both film school professors and front office executives. She explains the art of cutting, which is often forsaken in favor of technical proficiency. This is helpful not only for film students and “at home” editors who need to understand the artistry behind the technology, but also for development execs and producers. This book should also appeal to both the novice and the experienced professional editor.
— Dan Watanabe, Vice President of Development, CRC Entertainment, instructor, Los Angeles Valley College
As a former film student, I found myself wishing I had a book like this to refer to and inspire me as I spent hours trying to decide which cut works where. Chandler’s book lays it all out for the reader. It is just as much a reference guide as a how-to book – a great tool for an editor at any stage.
— Ellen Scherberth, graduate of Loyola Marymount School of Film and Television; intern, Warner Brothers, Full House, West Wing
Film Editing is a visually stunning book and a cerebral delight for anyone wishing to immerse themselves more thoroughly in the art of storytelling through editing. Chandler’s book is specific and exacting in detailing just how editing works. Film Editing is the new gold standard for this genre.
— Millie Benton Paul, awarding-winning documentary filmmaker, director, editor
With her new book, Film Editing, Gael Chandler makes plain with many visual examples the complex language of editing. It is a fine sequel to her previous book, and I recommend it to all beginning editors and established film professionals alike.
— Ray Zone, author, 3D film producer, stereographer
In the early days of the non-linear editing revolution in Hollywood, I was the first film editor to use the Ediflex on a series, and I had to train the second. The show was Still the Beaver. The editor was Danny Kahn, a veteran of the original Beaver and I Love Lucy series. Teaching him proved difficult, and after three weeks I decided I was unable to train another editor how to edit on the Ediflex. Gael Chandler changed our history by coming on the show as the assistant editor and taking over teaching a really old dog how to cut like a pup. Within three years, 80% of the television shows in Hollywood were being edited on Ediflex and Gael was editing the Beaver show and getting nominations for best comedy editing. Thank you, Gael. You are still teaching us how to edit and this latest work should become a standard for film schools.
— Herb Dow, A.C.E., The New WKRP in Cincinnati, Logan’s Run and many others
Gael Chandler has produced another useful book on editing and there is no doubt that her work will benefit anyone interested in either watching or making movies. Having trained with Gael on early NLE systems, I know how easily she makes connections between old film jargon and practice with the latest digital techniques. My students praise her first book, Cut by Cut, as an accessible and reliable tool to take their editing acumen to the next level. I can’t wait to hear their comments about this one.
— Ken Roth, Professor, Digital Media Arts, California State University, Dominguez Hills
Using hundreds of stills from major motion pictures, Gael Chandler has created a thoroughly enjoyable and enlightening book on film editing. This book is great for filmmakers and film-fans alike.
— Matthew Terry, screenwriter/filmmaker/teacher/columnist, www.hollywoodlitsales.com
Gael Chandler’s book is well overdue as a conversation piece directed towards novices who always ask what film editors really do. Her book explains in pictures and words the subtleties and techniques used for over a century by professional film editors to convey the story. Understanding these principles will educate not only the novice but all who want to know more about how editors create the final rewrite of the script.
— Ed M. Abroms, A.C.E. My Sweet Charlie (Emmy award), Colombo (Emmy award), Sugarland Express, Kojak
Film Editing gets right to the heart of the subject fast, with simple explanations and sumptuous examples that go far deeper than just the technology and into the real art of storytelling. While lots of books teach film editing theory, this one shows film editing the way it is meant to be learned — visually — and in doing that, Gael Chandler has set a new benchmark for books on the subject.
— Robert Grant, Sci-Fi London
A comprehensive and easy-to-read description of the techniques editors use to seamlessly tell stories. The use of film frames clearly illustrates the editing concepts. A must read for any film student, or anyone just interested in the art of editing.
— Nancy Morrison, A.C.E., editor, Desperate Housewives, Starter Wife, Malcolm in the Middle
Cuts transform pieces of media into stories, emotional experiences, and totally new perceptions. Gael Chandler cleverly reveals and illustrates the basic techniques used in film editing. Any me
dia watcher will become savvier about ‘how the mosaic tiles form the picture.’ An aspiring editor will find Film Editing a valuable textbook. A working editor will have an inventory of the processes we use ‘intuitively.’ And anyone who is about to shoot will use the organized examples to bring back the right sort of pieces to the editing room.
— Joanne D’Antonio, editor, American Primitive, Crossing Jordan
I can wholeheartedly recommend Gael Chandler’s Film Editing for anyone who is curious about how movies are made. It shows clear, photographic examples of all kinds of edits from the most basic to the complex. As an educator, I look forward to recommending it to my students, be they aspiring editors, directors, writers, or producers.
— Tina Hirsch, A.C.E., Gremlins, West Wing
With lucid descriptions and clear illustrations, Gael Chandler lays out the nuts and bolts of the editor’s craft. An excellent primer on the grammar of contemporary filmmaking.
— Tim Squyres, A.C.E., Nurse Jackie (pilot), Lust, Caution, Syriana, Crouching Tiger Hidden Dragon, Sense and Sensibility
GAEL CHANDLER FILM EDITING
GREAT CUTS EVERY FILMMAKER AND MOVIE LOVER MUST KNOW
Published by Michael Wiese Productions
12400 Ventura Blvd. #1111
Studio City, CA 91604
tel. 818.379.8799
fax 818.986.3408
[email protected]
www.mwp.com
Cover Art by MWP
Book Layout: Gina Mansfield Design
Editor: Paul Norlen
Printed by McNaughton & Gunn, Inc., Saline,
Michigan
Manufactured in the United States of America
Printed on Recycled Stock
© 2009 Gael Chandler
All rights reserved. No part of this book may be reproduced in any form or by any means without permission in writing from the publisher, except for the inclusion of brief quotations in a review.
Library of Congress Cataloging-in-Publication Data
Chandler, Gael, 1951-
Film editing : great cuts every filmmaker and movie
lover must know / Gael Chandler.
p. cm.
Includes bibliographical references and index.
ISBN 978-1-932907-62-9
1. Motion pictures--Editing. I. Title.
TR899.C46 2009
778.5’35--dc22
2009013319
To Maggie Ostroff (1935-2008),
film lover and assistant editor who began her career at the age of 47,
true friend, in and of the cutting room
&
To all moviegoers who desire to understand editing
or begin editing at any age.
CONTENTS
Foreword
Preface
Acknowledgments
Permissions
Introduction
Chapter 1 » BASIC CUTS
Introduction
CUT
REVERSE CUT
POV
REACTION
INSERT AND CUTAWAY
SOUND CUT
WRAP UP
Chapter 2 » MATCH CUTS
Introduction
SCREEN DIRECTION
EYELINE
ANGLE
FRAMING
SHAPE
LIGHTING AND COLOR
ACTION
IDEA
SOUND
ROPE
WRAP UP
Chapter 3 » ROGUE CUTS: MISMATCHES, JUMP CUTS, CROSSING THE LINE, AND BAD CUTS
Introduction
MISMATCH
JUMP CUT
CROSSING THE LINE
BAD CUT
WRAP UP
Chapter 4 » CUTS THAT USE BASIC EFFECTS
Introduction
CUT
DISSOLVE
FADES
WHITE OUT
BLACK OUT
FLASH FRAME
SUPERIMPOSITION
WRAP UP
Chapter 5 » CUTS THAT USE COMPLEX EFFECTS
Introduction
WIPE
GREENSCREEN
MATTE AND INSET
SPLIT SCREEN
WRAP UP
Chapter 6 » CUTTING FOR PACE, RHYTHM, AND TIME
Introduction
COMPRESSING TIME
SMASH CUT
EXPANDING TIME
STOPPING TIME
SUBJECTIVE TIME
FLASH CUT
SUBLIMINAL CUT
UNIVERSAL TIME
WRAP UP
Chapter 7 » CUTS THAT USE TIME EFFECTS
Introduction
FREEZE FRAME
SLO MOTION
SPEED UP
REVERSE MOTION
WRAP UP
Chapter 8 » CUTTING SCENES
Introduction
EXPOSITION
FLASHBACK
FLASHFORWARD
MONTAGE
PARALLEL ACTION
CROSS CUTTING
OVERLAPPING ACTION
FINAL WRAP UP
Synopsis of films
glossary
Filmography
Bibliography
Index
About the Author
FOREWORD
As part of the research for a film I made called The Cutting Edge: The Magic of Movie Editing, I read many books on the subject. No matter how inspiring or helpful, it was often problematic visualizing the magic and the mechanics of edit points described by text alone. And that’s understandable given how difficult it is to detect the cuts even when we are watching a movie.
Cinema editing has traditionally been called the “invisible art.” That invisibility in a well-edited film helps to keep us seamlessly engaged in the story and world of the movie. But aspiring filmmakers and curious moviegoers have a natural inclination to want to know how films are put together.
One of the most refreshing contributions of Film Editing: Great Cuts Every Filmmaker and Movie Lover Must Know is to make these imperceptible edit moments visible. Emmy-nominated editor and author Gael Chandler accomplishes this by artfully arranging great still frames from popular feature films to illustrate editing tactics used by Hollywood pros.
Designed in the tradition of the comic strip, this book is a lively compendium, or better yet, a “pictionary” that catalogues types of cuts editors employ in storytelling. Chandler’s straightforward text distills the classic use of powerful editing conventions. For example: Charming shots from the movie Cars and compelling frames from Babel of Pitt and Blanchett support text that outlines how eyeline matches influence match cutting. Stills from Crash and Pan’s Labyrinth show match action cutting, another aspect of continuity cutting that Chandler includes. Sequences from The Diving Bell and the Butterfly and The Constant Gardener illustrate different ways jump cuts have been used. The scope of techniques covered is broad and inclusive from match cutting to time shifts and from effects cutting to parallel action and beyond.
Although there are no rules in the formidable and complex art of movie editing, cutting practices like these have evolved over the last 100 years of trial, error and discovery in editing rooms throughout the world. They have become part of the basic grammar of film and are tools filmmakers, be they official students or self-taught home moviemakers, should understand and experiment within their own work.
Ultimately great editing is about the artistic intuition that shapes the story, understands the psychology of a character relative to the performance of an actor, and is sensitive to nuances of key emotional moments that provide the magic we see on the screen. A grounding in the building blocks (craft) of editorial construction that this visual toolkit provides will give filmmakers the tools they need to realize their creative ideas and will serve as a springboard for invention.
Chandler’s insights into how edits are used to excite audiences to laughter and tears or make bad cuts work will also delight every moviegoer who enjoys being a sophisticated entertainment consum
er.
From an instructional design standpoint, this book offers film teachers a clear-cut and economical approach to traditionally complex material. This book is a valuable resource with great ideas for movie clips that demonstrate and contextualize editorial concepts.
By taking a visual approach to a visual medium, Gael Chandler’s accessible digest makes an exciting contribution to the literature on editing. It’s clear that she loves the movies, knows her craft, and has a methodical mind that provides us hard-won clarity on the elusive art of editing.
Wendy Apple
Award-winning producer/director of The Cutting Edge: The Magic of Movie Editing (BBC, NHK, STARZ! and Warner Brothers’ Home Video); Hard Rain (NBC), starring Bob Dylan; Appearing Nightly (HBO), starring Lily Tomlin; TVTV’s Lord of the Universe (WNET/Alfred I. Dupont-Columbia Journalism Award); Five Easy Steps to Metaphysical Fitness (a comedy), executive produced by Bob Balaban and Emily Levine and featuring award-wining scientists like Danny Hillis and Kary Mullis. Adjunct professor of Cinematic Arts at USC.
Film Editing Page 1
