A Quote by Frederick Wiseman
My job as a film editor is to construct a dramatic narrative because otherwise it's just a chaotic arrangement of sequences.
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For myself, the only way I know how to make a book is to construct it like a collage: a bit of dialogue here, a scrap of narrative, an isolated description of a common object, an elaborate running metaphor which threads between the sequences and holds different narrative lines together.
God is not interested in what you think you should be or feel. He is not interested in the narrative you have construct for yourself, or that others have construct for you. He may even use suffering to deconstruct that narrative.
There are certain things in the scripts that need to be planned: you know, big stunt sequences, battle sequences... you can't improvise that stuff. You can improvise when there's just two of you standing in a kitchen and the most dramatic thing that's going to happen is someone's going to open the fridge.
I am committed now to one thing: lyric sequences. I want the intensity of lyric, but the scope and arc of narrative. so, I think I'll just write sequences for the foreseeable (the Beloved sequence doesn't have a 'plot' so I can just keep adding poems to it, it's like a giant bag I can just put beloved lyrics into - I think there are about 300 of them i've published by now).
Eisenstein was a good editor. I was trained as a film editor, and I've no doubt that the editor is key to a film.
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're going with a huge dramatic disaster film, try to keep the narrative as simple as possible.
You know, people always think if you start out as a film editor, you shoot less footage. Actually, just the opposite is true. I tend to grab as much coverage as I can because as a former editor I know how important it is to have those few frames.
Being a reality star is very chaotic: it's a very dramatic job to do. I always 24/7 have to be on and ready for any type of criticism at all times.
My first job in the States was as a junior fashion editor at 'Harper's Bazaar,' which I enjoyed, but not for all that long because I was fired by the editor in chief, who told me that I was too 'European.'
Once your acting job is over, you just hope they have a good editor and they put together a good film.
Like a film, dance steps or sequences are creative works. If a script can have a copyright, and so can songs, why can't dance sequences as well?
I was really, really, really nervous when I got this role because I did feel it was important to make Alice [Cullen] just as lovable as I read her being on paper and, kind of, full of vitality. In my head she is just this light and breath of fresh air in very dramatic settings - because I feel like we're always extremely dramatic in this film. I wanted people to be able to relate to her.
At the heart of any successful film is a powerful story. And a story should be just that: a narrative with a beginning, middle, and end, powerful protagonists that audiences can identify with, and a dramatic arc that is able to capture and hold viewers' intellectual and emotional attention.
I just fell into the job as a fashion editor at a teen magazine. I was there for two years, and I left there as a senior fashion editor at the age of 25.
I always thought the editor should cut the film and so I'll come in and look at the movie. Just because that's the only way I can really see the ideas of the editor, it's really working together. Yes it's a hierarchy, yes I'm the boss, but I like to see and to think about the idea, and it's about us asking, 'do we have to say that?' and, 'how do we make it there?' So it's advising the editor, it's very give and take, it's very free, but in the end, it's wonderful once you get through the first couple of cuts.
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