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And now let's talk about something
that's very complicated
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and very important to storytelling style.
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So what constitutes editing style?
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Editing style
has to do with the rhythm of the cutting,
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how fast you cut or how slow you cut.
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When you decide to make a cut,
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how you use insert shots.
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When you cut to wide shots.
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All of these elements factor
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in to the style of the picture
and the style of the storytelling.
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In the case of Whiplash,
we use a certain sort of nervous cutting,
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fast cutting in order to make the audience
feel like they have to keep up
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or that they can't keep up
with the speed of the story.
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We use a certain type of nervous
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cutting to create a certain emotion
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with the audience, emotion that matches
the emotion of the characters.
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In the case of La La Land,
we use more languid, a more languid pace,
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we use slower cutting, we rely on
longer takes, but then we punch in
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for very specific moments
to underline a thought.
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These are all elements
that factor into the style of the movie,
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and these are all style choices
that we make in the editing room.
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In order to determine
what the style of the picture is,
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the editor and the director
have to sit down and discuss.
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What they're going for, what
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the emotion is,
and they have to answer certain questions.
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The most important question is,
what is the movie about?
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What is the theme of the movie?
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Style.
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And in a way, editing style is, is,
I think the reason that
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a lot of people have noticed
some of the films that I've worked on
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because, you know, again, Damien
Chazelle is someone who tells his stories
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through the editing
and it's through overt style.
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And so the thing I want to mention
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is just that initially,
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even though he really knows what he wants,
and even though he had
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a certain sort of style in mind,
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it's still evolved in the editing process.
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You know,
I've talked about how he's so detailed.
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He does storyboards,
he preplan so well, which he does.
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Usually
we put something together to his plan
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and sometimes it works,
but sometimes it doesn't work.
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And that's when the two of us together
come up with the solutions
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to make it work.
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And that's
when I feel like my opinion is trusted.
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And that's when I feel like he,
as a filmmaker, looks to me as a filmmaker
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and an editor to help figure out
how we're going to make this story better,
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how we're going to keep the
emotion in the right place.
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Andrew.
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Drumming. They have a little exchange.
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And then we cut to Andrew,
who's dejected by the exchange.
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He's he's depressed.
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He feels like he's failed.
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He walks into the city.
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What we originally had, what
Damien originally wanted was a very slow,
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sort of moody, very depressed,
very ominous,
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slow,
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brooding scene of him rocking in New York.
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We did a cut of that and we screened it
and it didn't really work.
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I think the I think the filmmaker friend
said, you know, this doesn't work.
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You know,
you're trying to be like David Fincher.
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We changed it.
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And this this this friend reminded us
that other parts in our story
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had we had energy, we had our own style.
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There is this kind of manic energy.
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And so that actually inspired us
to cut it a little bit differently.
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And a movie that I
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saw that really, really inspired me
and one that Damien and I
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sometimes talk about is a movie
by Oliver Stone called JFK.
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And that's something that was very eye
opening to myself
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and very eye
opening to a lot of ED friends, because
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it used different film formats
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in a way that was very overt.
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It was shot in 16
millimeter, Super eight, 35 millimeter
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video, all these different formats.
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And the point of
it was not to blend those things together.
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The point of it was to have
every different format,
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be a different voice,
tell a different story.
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And it was the first time that that
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that I had seen
that used for a big Hollywood movie.
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And I think the editing of it
81
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is actually brilliant and now has become
very standard in some ways.
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So I just want to run a clip to illustrate
what I'm talking about.
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Oliver Stone knew that.
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His storytelling was going to use editing.
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And the Toomey.
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There's Joe Hushing and Pietro Scalia,
both brilliant film editors,
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worked together to take hours and hours
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of different types of footage, footage
that was shot for the movie
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and archival footage,
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and in this case, the footage of
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the assassination of President Kennedy.
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That's an event
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that was covered with home movie footage,
with video footage,
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documentary footage and.
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I think Oliver Stone's editors knew that.
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There would be all these different pieces
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to work with
and but the pieces would look different.
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But if they cut the movie together
in such in a certain way,
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it would give it a certain sort of rhythm.
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And I think the thing
that's key about JFK,
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which is different from
movies in the past, is that
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it was not the first movie to use
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documentary footage or archival footage
and recreated footage.
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It's not the first movie to do that.
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Certainly not.
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But what would often happen with
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those films is when you would show
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something recreated and then you would cut
to the real footage.
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The archival footage.
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The archival footage
always would look more real
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and would have more emotional weight.
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More emotional weight than the recreation.
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Something that JFK did and did
so well, I think, is that
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it cut the footage together
in a certain way with a certain velocity
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and a certain speed
that actually gave every piece
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equal weight.
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And that's something that's very different
than what had come before.
10040
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