Murch uses the blink of the eye as an emotional cue. It’s interesting to think one should
cut when you blink. He covers how important discontinuity is important in editing
because it allows us to choose the best camera angle for each emotion and for a greater
impact. He also provides a list of what it takes to make a good shot. He uses them in a
hierarchical order as if it is a step and a reminder for editors to think about when they are
editing of what is most prominent in a film – what really matters. He helps you know
when a good cut is there, when the emotional moment tells you to cut and how to
recognize it. It is not so much a technical guide on how to edit but it helps one on how to
approach editing.
This excerpt explores how cuts work, what they achieve, and how best to create a well edited piece of film. Murch also explains why it is that we accept cuts in film easily as an audience. He muses that an individual’s day-to-day life is continuous; there is no shortening of time or jumping of vision. However, Murch presents the idea that dreaming is one reason behind why we so readily accept cuts in film, seeing as though it is a somewhat random series of images with no obvious connection.
Murch’s chapters form a logical understanding of how a cut works, what it achieves and what to consider when cutting a piece of footage. Murch tends to write in a somewhat fictional way, and his stories about chimpanzees and humans enable the reader to understand how each individual editor will come up with a unique series of footage. His style changes, however, to a much more formal and structured one when he specifies the 6 characteristics to consider when editing.
This excerpt is particularly helpful when considering why cuts actually work and appear so seamless. However I found it interesting that Murch professes audiences accepting cuts easily, whereas a long take (which occurs in real time, simulating our lives as much as film could) is widely considered as oppressive on an audience in research. Paradoxical.