Editorial Influence (For Beth)

I will be using this post to embed some examples of scenes from films for Beth to have a look at. We spoke briefly the other day about what editing techniques or styles I'd want to implement. We spoke about the use of long takes, and I feel the script calls for them and it would compliment the atmosphere I want the film to have. I've embedded a couple of scenes that I've thought of off of the top of my head and I will be using these types of posts as a platform to build upon. Hopefully we can both continue to share examples of scenes and imagery we feel could inspire and benefit our creative process. 

I feel that in conclusion of the scenes I have shared in this post, my primary goal is what I will refer to as 'conservative editing'. By that I mean using cuts only when it is important to cut. I hope to avoid choppy and noticeable editing so that the images being shown can be absorbed without interruption. 

This is a video from 'Every Frame a Painting' which is an extremely insightful YouTube channel focusing on a range of film related topics. This one in particular I feel is very important for an editor to watch, but for directors alike. 

This is a scene from In the Mood for Love, I imagine Beth's heard me banging on about it before. I've chosen to share this scene because not only is it a perfectly crafted sequence but I also hope to use slow-motion at points throughout the film. This is something I think we need to get to grips with early on so we can experiment with speeds to find what works best etc. There's one particular shot I have in mind in 'Alice' which I hope to transition from regular speed to slow motion in the same shot, which is also a backwards tracking shot. 

\

Again, below are two scenes from Only God Forgives. Something which I reference frequently. This time around I'm stressing the importance of the editing in both of these scenes, instead of the visuals. The editing is exquisite because it is so invisible within these scenes specifically. The cuts are timed and executed to perfection. It gives the scene a steady and uninterrupted flow which I think is very important for scenes of such dramatic depth. The last thing you want is to notice a camera movement or a misplaced cut, as these things drag you straight from the action. 

This is a scene from 'Shame'. Like the above scenes from Only God Forgives the importance lies in the obscure amount of cuts and transitions. In this scene Carey Mulligans character is the focal point in an uninterrupted shot. This shot still works because it absorbs the attention of the audience. It is visually rich, and the performance and emotion are visible. The cuts are only used because they only move on to show something of equal or significant importance to the thing we're already seeing. It cuts to Fassbenders character (her brother) to allow him to convey his emotion, and it cuts back, allowing us to enjoy the importance. This also allows us through one cut to observe the relationship between the two characters, as though they are the only two characters in the world at that moment in time. I'm ranting because I love this film very much but you get the point.