All language subtitles for Module 21

And now let's talk about storyboards.

Some directors use them.

Some don't.

When I work on Scott

Cooper's movies,
he doesn't really have storyboards.

Some directors favor storyboards.

They preplan a lot like Damien does.

I find storyboards

and animatics helpful in some ways
and very

annoying in other ways.

And the reason is
when I'm trying to match storyboards

and I'm trying to match
animatics, in theory it seems like

I should just be able to check a box

or fill in a shot.

Where it's supposed to go in the plan.

It says if it gives you a plan.

But the problem is that I find
is that these plans, these boards

and these animatics only take you so far.

When we did Whiplash,
that's a perfect example.

The End we did The End of Whiplash,
and I had storyboards.

I had an animatic
when I tried to match that perfectly.

It did not work emotionally.

It had all the pieces in some ways

that we had in the storyboards,
but it was missing an organic ingredient.

It was missing a life.

It was it was soulless.

And so what I find

really challenging and frustrating
about storyboards when I'm editing

is that it ties me to something

because I feel an obligation to follow it

when sometimes you want to go beyond that.

But so it's it's hard

because there's a part of my brain
where when I have a storyboard

or an animatic, there's a,
there's a part of my brain that turns off.

And that's not a good thing.

It's something that I always have
to fight.

It turns off because then my job becomes
more mechanical.

And the ironic thing is that

once Damien comes in, or whoever
I'm working with is a director

and we see that something works,
then the two of us work together

to rebuild and to change it,
to make it work on an emotional level.

In terms of

my process, my general process

for editing, say, for example,

Scott Cooper's movie Hostiles.

That's something where I rely heavily
on the actors performances.

And when I do my first cuts,

I follow the film,

I follow where the actors are taking me
eyes.

I look at the cues in their performance.

I look where they change, how they react,
and I follow what they're doing.

That helps me get to my first cut

after I have a first cut after

we have the whole film in place.

We have a I don't like to call it an
assembly, but it's an assembly of sorts.

Our first cut.

You can really assess what's working.

And then I feel like
you start changing the film

and you start making the film
follow what you want to do.