Collected Data
Watch: "How Star Wars was saved in the edit"
Two points that I think are worth adding; ALL Rough Cuts suck and EVERY film is saved in edit.
Watch: "The Science of Editing: Just Instinct?"
"You know, I guess I'm kind of attracted to weird tone projects. I'm sort of a real cult movie guy."
“Well, I think that the challenge with the Deadpool character — editing-wise and I think filmmaking-wise — is his greatest asset and also his greatest challenge. It is the sort of irreverent sense of humor and the meta thing, which is the thing that we love and the fans love, but it completely subverts dramatic tension, momentum, all these sorts of things that you need to kind of engage the audience in the movie. If you're making a 20-minute cartoon, you can maybe just have like joke-meta-joke-meta-joke-meta, and then kind of [say] "The End," and have people like it. But if you're going to do a two-hour movie, you somehow need to have a story, and emotional engagement, while constantly kind of digressing and subverting and have these two things be harmonious.”
This film editor kept Deadpool from flying off the rails
"Films are very good at stirring up emotion but you have to be careful about which emotion you’re stirring up."
Inevitably, there is a coarsening of the message there because of trying to adapt to all these different sensibilities and different ways of thinking on the different continents of the globe. But very often it’s simply lazy filmmaking. It’s hard to make it the other way because of the uncertainty of it all, because it’s risky. I find it much more interesting to make things this way precisely because it does involve the audience in the film. And really the last creative act of any film is viewing by the audience. The audience are really the ones who are creating the film, it doesn’t really exist on the screen, it exists in a kind of penumbra between the audience and the screen, the interaction of those two things. And exactly what you’re saying allows that interaction to take place. Otherwise, the audience is just blasted by the things coming from the screen, and they just have to sit there and take it.
‘WATCHING FEATURE MOTION PICTURES IN THEATERS IS BARELY A HUNDRED YEARS OLD, AND I’VE BEEN WORKING IN FILMS FOR HALF THAT TIME’
Watch: "In the Cut Part III: I Left My Heart in My Throat in San Francisco"
Jim Emerson;
Wrapping up the series with looks at William Friedkin's "The French Connection" (1971), Peter Yates' "Bullitt" (1968) and Don Siegel's "The Lineup" (1958).
Watch: "In the Cut, Part I: Shots in the Dark (Knight)"
A great video essay by Jim Emerson.
A (very) detailed look at the first part of a famous TDK car/truck chase sequence, analyzing how it is put together and whether the filmmaking grammar makes sense.
You can read a transcript here.
"When a good commercial film manages to make its cuts invisible, it distills 100 years of lore into its editing practice."
What is going on here? Consider that our visual systems evolved over hundreds of millions of years, while film editing has been around only for a little more than 100 years. Despite this, new audiences appear to be able to assimilate splices on more or less the first try. I think the explanation is that, although we don’t think of our visual experience as being chopped up like a Paul Greengrass fight sequence, actually it is.
Strange Continuity
Editing: "QUICK AND EASY DIALOGUE CLEANUP WITH RTAS"
I didn’t really know what RTAS was useful for, much less how awesome it really is. It allows you to use many of the AudioSuite plugins that you would normally apply to a clip, and apply them to an entire track instead, without rendering (thus the RT in Real-Time Audio Suite). Up to five RTAS plugins can be chained together per track. When applied to dialogue tracks, you can chain together 3 RTAS plugins that will make your dialogue much more understandable and leave more room in other frequencies for your sound effects and music.
QUICK AND EASY DIALOGUE CLEANUP WITH RTAS
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