A Quote by Frederick Wiseman
A lot of the issues of rhythm in film are found in the editing because it's very rare that any sequence is the sequence that is shot.
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It's weird - on almost every film I've worked on, the first sequence we storyboard ends up being the first sequence that goes into animation, and ends up being almost shot-for-shot the same.
When we experience a film, we consciously prime ourselves for illusion. Putting aside will and intellect, we make way for it in our imagination. The sequence of pictures plays directly on our feelings. Music works in the same fashion; I would say that there is no art form that has so much in common with film as music. Both affect our emotions directly, not via the intellect. And film is mainly rhythm; it is inhalation and exhalation in continuous sequence.
A random sequence is one that cannot be algorithmically compressed : the shortest description of a random sequence is simply the sequence itself.
As soon as you're finished shooting, you have to go into the edit room and choose all of the shots that you're going to commit to because the visual effects vendor has to get it because they'll spend months on it. So, you're editing out of sequence before you've gotten a film for the movie and the performances.
I did a film that I shot in 24 hours that was self-financed for $5,000. It was a feature called Looking For Jimmy that I shot with a bunch of friends. I spent eight months editing because we had 24 hours of footage that made no sense and I learned a lot about directing while editing that film.
I did a dance sequence in my second short film, which was my best short film, called 'Hairway to the Stars,' and I think Chris Wink, the founder of Blue Man Group, was in that. It's a black-and-white dance sequence. We were Glorious Food waiters together.
It now seems certain that the amino acid sequence of any protein is determined by the sequence of bases in some region of a particular nucleic acid molecule.
You come back to the beginning. That's why in the "Searching for the Ox" sequence, at the very end of that sequence of the Zen paintings, we're back in the world again.
I generally go into a movie with a very strong vision, with how I want to make the film, how I want to shoot the film, how I want to edit the movie, what I want the sound to sound like. So I have a very concrete idea even if I don't storyboard it, I know exactly what I want to do once I get into the sequence. Now having said that, I try not to let that slave me to the process. So if I do storyboard a sequence I don't necessarily stick to it if I discover more exciting things on set.
That's the power of music, a key sequence or a chord sequence or even a note can do something to you physically that's uncontrollable.
It's rare in a documentary film that you have a repetitive act. So when you do, you can shoot it in different ways so that you have more choices when you're sitting down to edit that sequence six months later.
Compose in the sequence of the musical phrase, not in sequence of a metronome.
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.
In a way, the whole notion of a blueprint of a building is not that different from a script for a movie. A sequence of spaces, which is what you do as an architect, is really the same as a sequence of scenes.
Breakfast Club was great because we had a real rehearsal, and we shot primarily in sequence.
In Korea is what I do is I watch the playback of each take with all of the actors and spend a lot of time discussing each take. Also, I use the process we call auto-assembly because I storyboard my entire film right at the beginning, even before pre-production ever begins, so my vision is already laid out on the storyboard for everybody to share. It enables the on-set assembly person, as we call them, to cut together each take into a sequence. This enables a director to review the take within the context of the sequence of the scene.
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