All language subtitles for Module 26

Got it.

I can't.

Yeah.

I got it.

Yeah, you got it.

Come on, let's get out of here.

Come on.

What? Oh.

You're.

Have.

Come on, now.

Yeah.

Well, now,

what the heck? Who?

Oh. Looks like

you got it, Joe. Yep.

How far they get you?

Yeah.

Okay. Yeah.

Apaches, huh?

Yeah.

It's got to be not the end of them, I

think.

But like ants, they just keep coming.

Now let's take this.

What happened?

Guess how many brothers bring it back?

It ought not to be this way, Joe.

Is there a better way, Tolan?

Scott really wanted

to keep it psychological
and focus on the characters.

So we had a lot of beautiful coverage

of this event where his soldiers,
Captain Walker, is overseeing

this recapture of this escaped
Native American person and.

Scott just loved coming in on this face.

And again, when you have a movie star
like Christian Bale,

who is not just a movie star,

he is also an amazing,

talented actor and performer.

And, you know,
I think there's a difference.

There are movie stars

who are iconic, who play their roles well,
but they don't necessarily

have much range in terms of performance.

But their faces are recognizable
and they're iconic.

Then there are people
who are amazing actors, and in some cases

they disappear into their roles,
but they're not movie stars.

They wouldn't be able to hold a movie.

Christian Bale is both of those things.

He can hold the screen
with his charisma, with his presence,

but he is also someone as an actor
who can disappear into the character. So.

We're very lucky when we get

to work with these great performances.

And so on one level, you want to.

You want to favor your movie star?

If you have one,
you don't always have one.

But if you have one,
you want to use that favorite.

And in this case.

We also want to.

Hold on the face and get used to the face.

So it's our way

to start in again
with a little bit of disorientation.

So you come in
and you hear the cries of the woman.

But you don't exactly know
what's going on yet.

And the score, of course, leads us in.

You hear a pretty lap of wailing, crying,

and you juxtapose that

with the space, which tells you
this is not a sympathetic face.

You hear a woman wailing and crying.

You know that something is happening
that is not good.

And we see the first face we see

is not someone helping the first way.

The first face we see
is someone who seems to be.

Very indifferent, to say the least.

And this is supposed to be our hero.

Now we punch out,

we see where this crying is coming from,

and we see that there's also another man

next to the woman who's crying.

And the other man
doesn't seem to be helping either.

And now we reveal
what they're crying about.

And again.

This is something
where Scott really wanted to cut this.

Traditionally, it's not overly stylized,

but it had to be cut up into little pieces
in order to give it

a certain amount of momentum.

I liked cutting into this size
just to at least see some of the horses,

see a little bit of the context, see
a little bit a little bit of the overlap

of the woman's clothes on the
on the right hand side of the frame.

I got it.

And then we can punch and actually see
the detail of the person they're chasing.

Oh, right.

And then

we introduce another one of our characters
who will

who will come into play a little bit
more later.

It's a minor introduction.

We don't have to really understand
who he is or even what his name is,

but it's just important to check in
and have his face,

even on a very subconscious level.

It's good because you'll probably
remember him in some sort of way.

He'll be familiar.

And then this is one of those points
where it's always nice.

I always like to tie action in,
especially if I start in tight

and I go into my scene
in a disorienting way.

It's always.

Fun to find the right point

where you can bring all the pieces
together.

I believe in

wide shots and what I call tie in shots
where you tie one thing into the other.

This is one of those shots.

It's also nice

in a big widescreen Cinemascope movie

like this, a western to

to make use of the wide frame, which
the cinematographer did, Scott Cooper did.

So I like doing that.

And again, we

we now place Captain Blocker in this shot,

which is basically a punch
out of the close up, except

we have stuff going on in the foreground,
which I think is a

I liked it as a shot, but also it

now places him in there

and there's a moment here

where we tie it all in
so that you see that all he's

that this poor person is surrounded
by three horses with glasses.

And in a case like this,
when you have an action thing, a stunt,

this is something where.

Editing is your friend in

that often stunts need need.

Editors help.

You know often.

A movement plays very well in one angle,

but the entire movement does not play
well in the entire in the whole shot.

Sometimes you'll get a stunt
that is so well performed

that you can stay in a shot and
let the entire stunt or action play out.

And that's part of the point.

But often, not all the time, but often

it's our job as editors to help it along.

You have to help sell it.

Otherwise the audience sees
around the edges and they see

something about it
that does not feel real.

And so that's something where it's our job
to kind of protect these moments.

Oh, wow.

Oh, wow.

You know, in the shop where he falls down

and this is this is a stunt.

This man stuntman was had a cable on him.

On his.

On his hooked up to a rig on his back
and he's being dragged

the rope is
he's not being dragged by his neck.

There was a cable that was painted out
by a visual effects artist,

but this is a shot where then you can add

your 24 frames or 20 frames, you know,
to add on to it, to let it play out.

So I always feel like
when you're going to spend a little time

hold on a shot like that
for a little bit longer.

I always like to tee it up with a couple
of cuts a little bit faster before then.

And here is something.

Where.

I always like

to hear something
that that I think a lot about.

You know, often when I have a scene
like this and I think this was

a good example.

I, if I remember correctly,
I think I cut this scene silently.

And sometimes I'll do that
with more visual scenes

or more action oriented scenes.

It's faster to do.

And at the end of the day,
I like scenes to play pictorially first,

because I think that when you have a scene
that plays with just a picture.

It will appeal to a much wider

audience than if it's something
that's more reliant on dialog.

All that being said,
sound is very powerful

and that's something
you always want to use.

But this

was a scene that, if I remember correctly,
I probably cut silently.

And the reason that came to mind
is because.

I think when you have a moment like this

where something terrible is happening

and this poor man's being dragged
uncomfortably,

you know, my first instinct was to follow
that up with this shot,

which was a reaction of someone
who is probably his wife and his daughter.

You want to go for a reaction
shot of that?

That's a great opportunity
for for your story.

It's a great opportunity for the scene
because

this is something that functions
pictorially.

The picture functions

it plays
even if you don't have the sound on.

So I look for moments like that where.

Where

the one answers the other.

So who

is affected by this person being dragged?

His family.

So that's why you want to cut to that.

And then that is a great moment to tee up

this soldier's reaction.

Which is very at first indifferent.

You see the contrast
between the two emotions.

But then you hold on this shot.

And again, this is where talented actors,
great performers, come into play.

Rory Cochrane is a great actor
who works with Scott Cooper all the time.

You can hold on his face.

He can hold on it long enough.

You see, he looks away.

There's actually what we read
was discomfort in his face

that there's something there
where he is really trying not to react.

And he clearly doesn't react
like the mother and child.

But there is something there
that's a little discomfort.

There's some nuance.

And as an editor,
that's what you look for.

You look for nuance.

It has
to be the right nuance at the right time.

But you look for little details.

You look for a little details
in human behavior that feel real

and that add to the texture of the scene.

So also.

What we can do
then is we can show that Rory Cochran,

this character, who is indifferent
at first, actually has to look away.

And that in turn

lets us do this great cut to

and as I'm saying, great cut,
not because I cut it, but

because we get to cut to this great face
of Christian Bale, who

not only is indifferent,
he's just taking a bite out of this lemon.

Like like this is an ordinary occurrence.

And that is key because it says so much
about his character.

So all of those events and those

reactions to this reaction.

The character almost doesn't even.

No anything terrible's happening

because to him it's not terrible.

And again, this is a moment where.

The real gold, in my opinion,

the most valuable element
of this whole little scene

besides the information, plot information
you get is Christian Bale's face.

This whole scene would not be anything
without Christian Bale.

And so.

We end with this face.

And again, I like to sometimes
end the scene, punching out to a wide.

Now, I also like this shot because it was.

I love that.

I love the landscape.

And so it seemed to be a good punctuation
to the end.

We do a minor time cut.

Follow

this man being dragged around and then

we're kind of going
to do another time cut here.

And again, since

we've been playing
in little fragments of faces

and fragments of of a noose

going around this man's head and some.

Quicker cuts.

Now we're doing a little traveling.

We can slow down a little bit and linger.

Pull back.

Pull back from the action.

Change the pace.

Instead of being so close in something
so intense.

Now we're we're
that scene is finished. We're done.

We can kind of pull back

and establish to the next place

that we're going to.

And this is something
Scott likes to do as a director.

He likes to have these kind of pan shots

where you'll start with a certain
beautiful wide scope frame.

And I like to
I like to feature these shots as well,

start at a certain place,
let a pan out until you find this.

The camera

part of
this is a was recreated by the crew.

Some of it is a digital mapping.

Looks like you got to go.

Yeah.

This year we pre let some of this dialog.

Originally, this shot started.

There was more to this shot.

The stunt shot
had the men coming into the.

Ford and initially.

This character.

The doctor

initially
was coming outside of the building

and he had been talking to

Yellow Hawk, the native chief.

And that was a scene we cut.

That was a scene I talked about
before we cut it because we didn't

want to sympathize with those characters,
yet we didn't want to introduce them.

So we had to.

Find a way to make this transition
because we deleted the scene,

so we found a way to

pre lap

this character's dialog.

To lead us into Christian Bale,

just taking a drink of water.

Looks like you got a job. Yep.

Pretty laughs are.

Sound

tricks
that have been around for a long time.

I'm not I'm not sure exactly
when the first use of a pre lap was pre

lap is when you have sound, it
starts before the picture of it starts.

It overlaps ahead of where
the picture cut is.

It's something that was famously
used by the film editor Dee Dee

Allen in the movie Bonnie and Clyde

about the two gangsters in love.

And at the time when she used it,
it was a very new technique.

Now it's very common.

People do it all the time.

I think it's a useful thing.

It's very basic, it's very simple,

but it's a tool that we have

that that you end up using all the time.

And it's.

It's very important to

for everyone to be on the same page
about something as simple as that.

I worked on a film once where.

The sound.

Editor and the picture editor

did not agree on the use of prolapse

and sometimes you pre flap dialog,

you hear a little bit of talking
and then you cut to who's talking ?

Sometimes it's sound.

Sometimes you hear the sound of

a sound effect,
like the sound of someone hammering,

and then you cut to the scene
and someone's hammering.

Sometimes it's as subtle as a change
in background ambiance.

You hear rain and before
you cut to a new scene where there's rain.

Where there's rain. But.

I worked on a project

where the editor and the sound

editor did not agree.

The sound the sound editor sounded
or thought that

the idea of a pre lap
was was old fashioned

and just didn't like them.

So when the
when they were mixing the sound,

the sound editor took out

the pre flap, so there was no sound.

So when the cut happened,

it was just a straight
cut picture and sound at the same time.

Well, the problem with that
is that without the pre laugh,

all of a sudden the picture cutting felt
slow and felt too slow.

And so.

Not preserving some of those sound choices

is a disservice to the picture editing.

So it's important that when I, as a film
editor, for example,

do something as simple as that,
it's important that the sound team,

the sound designer, the sound mixer,
it's important that they understand

how important it is to
me and why I'm doing it. So

I don't think that can

be overstated
because there I've worked on many projects

where because of budgetary reasons,
especially with small projects,

the picture editor is not paid

to supervise
the finishing of the sound and

is not able to be there for the finishing
of the sound to oversee it.

And so sometimes decisions
that we as editors

make in the editing room
get revised and changed later on.

And that's not always done
out of any sort of malicious nature.

But sometimes it's it's done
because they just don't know

why we're doing something.

So I just want to point out that
that's something,

even something as small as this is
something that a picture

editor has to really think
about and in some cases, protect.