All language subtitles for Module 20

Is there a wrong way to edit?

In some ways, no, I don't think

there's a wrong way to to edit a film.

There's just different ways
to edit a film.

I think I think
if there was something that was wrong,

it would be about an editor trying

to impose a style on the story.

His own style or her own story,
her own style,

that that is not serving the story
or serving the characters.

I think that is something that

editors need to be careful
about doing in terms of any style

that I have,
I feel like I feel like I'm too close

to really judge that.

I think that's for others

to assess and judge if I have a style.

Every editor brings their own experiences

to the movies they work
on, to the projects they work on.

I feel like

I like to think that whatever I do
stylistically

is always at the service of the characters
and always at the service of the story .

So in the case of Whiplash,
the style that Damien Chazelle wanted,

the style that's very fast
and Cutty at times very rhythmic.

I like to think that that's at the service
of of the characters and the story

was telling.

Similarly, with La La Land,

I think this style suits that story
in First Man.

First Man has a very cinema verité,
very documentary style.

And that's just how
Damien wanted to tell his his story.

He wanted that movie to be very different
from other space movies.

Space movies are often like told in a way

that is that that is inspired by 2001
A Space Odyssey.

That's the the prime example.

It's very modernist, it's
clean, it's futuristic,

it's omniscient in terms of point of view.

Damien wanted to have first man
be very subjective, and he wanted it

to be like the NASA's archival footage
that he saw when he researched the movie

grainy, gritty, very intimate
and claustrophobic, personal.

And so that's
the way he wanted to tell the story.

So I like to think that whatever I do,
always serving

the director's vision, but
also serving the story and the characters.

So I think it's easier for me
to be on the outside and look at other

editors and say, Oh, this editor,
this editor has a style.

I like his style.

Like the editor who cuts Paul Greengrass

movies
like The Bourne Ultimatum or United 93.

That's Chris Russo,
I think is a brilliant Hollywood

film editor,
and I feel like I love his style.

I don't know that he would say
he has a style, though,

you know, the same with Thelma
Schoonmaker, who cuts Martin Scorsese.

These movies, you know, I love her style.

Or Jerry Greenberg, the late editor
who cut the French Connection

and used to cut for Brian De Palma,
like movies like Scarface.

In a weird way,

you're not supposed to have your own style
because then you're imposing your own.

You don't want to be guilty
of imposing your own ego.

On top of the story,
of course, you bring your own perspective

and your point of view
as long as it does not overshadow

what's best for the story.

I mean, the issue of trust,

you have to kind of see this

in general.

Even with complicated scenes,
I really like

to have as few tracks as possible,
and that is video

tracks and audio tracks,
but just enough to give me what I need.

So in terms of sometimes some editors work

with a huge number of audio tracks
and a huge number of video tracks.

Sometimes because of visual effects,

you need to composite
several different layers.

You do need more video tracks.

Some editors also play around

with stacking different options,

and I certainly do that
sometimes when I'm working.

But as quickly as I can,
I try to commit to

to commit to two things that work.

And so I start to try to collapse
these tracks so that I just have this

one streamlined track.

Part of
that is maybe because I'm compulsive

in a certain way that I want to have
something very minimal and clean.

But it's also that I don't

I guess I like to commit to things
and have things as simple as possible.