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There was a scene that guy shot which is
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all about super duper
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crazy slow motion and things hitting and
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things you know James Haret literally
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doing a masterpiece of you know it's
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like it's like an editing masterass
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and I looked at that thing and the first
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time I looked at it and I and hm right
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okay there's all this story going on
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there's all this stuff going on and
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stylistically it's it's very different
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from
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anything in this movie um
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so that two ways of solving it either I
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can go and
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figure out every moment and
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do something with every moment or I can
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find
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like a crazy simplistic through line.
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Um,
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and so, so the tempo had to be right.
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And the these guys had been working, you
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know, I think Guy will forgive me for
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saying this, they'd been work working in
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the cutting room on this scene forever
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and they could not they didn't want to
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go and ever look at that scene again.
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Um, and so this is where the grid thing
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is interesting because it changes the
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feel. So they were basically
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very maybe a little bored with the
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scene, right? So So I remember the first
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time I showed it to guy
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without saying anything cuz play it
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again. Play it again.
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Play it again. I thought,
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what's he thinking? He's not telling you
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what he's thinking. he's, you know, he's
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either he's either hating it or he's
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trying to cover with some, it was like
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he couldn't look at the scene anymore
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and suddenly he found it completely
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compelling to look at again. Um,
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so if I can find this bit, uh, god,
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where was it? Real fine. We come from
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actually we come from something you know
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which is on purpose very action musicy
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and very um straight.
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Where are the horses?
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They're behind.
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We need them.
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Do you want to go back?
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What's my
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This is nothing. Just let him talk.
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just it's just one note. The whole thing
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is just
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coming
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to
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So obviously there's so many different
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tempers going on in the scene in the cut
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in the in the way he treats every shot.
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So, so by just
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brutally
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imposing this grid onto it, it feels
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like sort of things can't end up good.
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You know, it's like like like fate just
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grabs you and,
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you know, imposes its own rhythm on top
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of it. Um, and I'm I am on purpose not
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moving notes. It's just like
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boldly sticking to one note.4888
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