A Quote by Damien Chazelle

I love being in the editing room and playing with tempo and with the rhythm of shots. — © Damien Chazelle
I love being in the editing room and playing with tempo and with the rhythm of shots.
All three parts of filmmaking [writing, shooting, editing] contribute to rhytm. You want the script to be a tight as possible, you want the acting to be as efficient as possible on the set, and you have enough coverage to manipulate the rhythm in the editing room, and then in the editing room you want to find the quickest possible version, even if it's a leisurely paced film. I definitely in filmmaking more and more find writing and directing a means to harvest material for editing. It's all about editing.
I think there's a tendency with actor/directors to imagine themselves playing every part and trying to get people to follow their rhythm, their tempo, their pace. I've learned now to just love being at the center of this creative swirl.
When you're playing spot minutes, it's harder to hit those shots. But if you're getting volume shots, now it's a lot easier to get a rhythm.
Although the assembly of the shots is responsible for the structure of the film, it does not, as is generally assumed, create its rhythm; the distinct time running through the shots makes the rhythm of the picture, and the rhythm is determined not by the length of edited pieces, but by the pressure of the time that runs through them. The pieces that 'won't edit', that can't be properly joined, are those which record a radically different kind of time
Music is rhythm, and all theater is rhythm. It's about tempo and change and pulse, whether you're doing a verse play by Shakespeare or a musical.
My forte is editing and I am most experienced in that. I love the challenge of playing with material and imagination while editing.
The idea that a film is created in the editing room - it's only a certain kind of movie that's made in the editing room and it's not one that I really want to see.
The first thing I do in the editing room is the 'radio edit,' where you listen to the dialogue and don't even look at the visuals. The rhythm, the music of the comedy, has to work.
I'm too big a fan of rhythm and editing. I'd much rather my editing be brave than my shooting.
I have to think in terms of musical tempo. Let's say someone comes into a room and slowly sits down or someone rushes into the room and rushes to sit down. That's how to work out the tempo of the music you produce.
I think I can help push the tempo just a little bit... I feel I can get the ball after a rebound. Push the fastbreak. Push the tempo. Get guys some easy shots.
I remember walking into the editing room when I was a junior in college, and I watched the guy make cuts, and I didn't know what the hell was going on. He was just putting these shots together and telling the story, and it was amazing.
I think once you see a couple shots go down, and when you're getting shots in rhythm, the game flows.
Writing is so much about rhythm. If you've got another rhythm in the room, it spoils the rhythm of the words.
There's the internal rhythm within a sequence, and then there's the rhythm between the sequences, and that's extremely important in constructing the narrative. For example, you don't put two big dramatic scenes right next to each other. But you can use the rhythm of the transition shots; they can often serve a double purpose.
When you sit down and think about what rock 'n' roll music really is, then you have to change that question. Played up-tempo, you call it rock 'n' roll; at a regular tempo, you call it rhythm and blues.
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