Wald, J 2004, ‘EVERYTHING IS EDITING’, Metro, 141, pp. 98-101, Communication & Mass Media Complete, EBSCOhost, viewed 17 March 2016.
One thought on “Wald, J 2004, ‘EVERYTHING IS EDITING’, Metro, 141, pp. 98-101, Communication & Mass Media Complete, EBSCOhost, viewed 17 March 2016.”
This is an article talks about Bill Russo, an Asutralian film editor and teacher, and his understanding s on film editing. There are not much theoretic stuff in this article, instead the author uses an easy language to introduce Russo’s values on film editing with some interesting examples of their conversations. It always a question for me that what is actually going on in an editor’s mind when he is siting in editing room with director and how do they communicate effectively to each other. Is there a common rule to follow? Like he said in the article ‘Obviously you’ve got to have the skills. But beyond that, how well are you going to collaborate with people and work your way through that incredibly challenging process on the way to a lock-off? Two minds, when they work together to create something greater than the two minds, that’s the enjoyable part. But how to get there, satisfied yourself, without resorting to compromise, and with both yourself and the director serving the story and not your egos? That is the question’(pp.99). The answer he gives here is ‘trust’. ‘Trust is a very big thing’ he said. But what makes me rethink that is his words to his sudents ‘Who does the editor work for?’ ‘The story! Anyone not working for the story is working for themselves. You’re on an ego trip and not doing a very good job’. If so, is that possible that your story is not your director’s and so you have to be on an ‘ego trip’?
This is an article talks about Bill Russo, an Asutralian film editor and teacher, and his understanding s on film editing. There are not much theoretic stuff in this article, instead the author uses an easy language to introduce Russo’s values on film editing with some interesting examples of their conversations. It always a question for me that what is actually going on in an editor’s mind when he is siting in editing room with director and how do they communicate effectively to each other. Is there a common rule to follow? Like he said in the article ‘Obviously you’ve got to have the skills. But beyond that, how well are you going to collaborate with people and work your way through that incredibly challenging process on the way to a lock-off? Two minds, when they work together to create something greater than the two minds, that’s the enjoyable part. But how to get there, satisfied yourself, without resorting to compromise, and with both yourself and the director serving the story and not your egos? That is the question’(pp.99). The answer he gives here is ‘trust’. ‘Trust is a very big thing’ he said. But what makes me rethink that is his words to his sudents ‘Who does the editor work for?’ ‘The story! Anyone not working for the story is working for themselves. You’re on an ego trip and not doing a very good job’. If so, is that possible that your story is not your director’s and so you have to be on an ‘ego trip’?