The American editor is inserted in a production system in which he himself is a pawn - he is first and foremost a great technician at the service of the production of the film. While in Europe the editor is like the alter ego of the director, a watchful eye, a critical eye, the armed hand of the cutting room. He has to combine a rich technical knowledge with an open mind to be at the height of a day-by-day experimentation with new things.
Simona Paggi, Page 128
To be able to excel in your work, you have to have ideas. The same goes for everyone - you have to have ideas, intuitions, imagination, you need to question what you're doing all the time and sometimes even to know how you wait. You must know how to listen, how to look, never to be satisfied, to take risks. And in editing, which forces you to be in a constant state of constant evolution, this ought to be a dogma.
Simona Paggi, Page 130
My cutting style varies because every film I edit is different. I would always like my style to be recognisable by the commitment and sensibility I put into my work to reach the heart that film may have.
Simona Paggi, Page 133
The only constant is change?
Looks like there's a whole lot more going into what should be 'invisible' [when done right]. No space for the ego to demand your 'work' be all attention-grabbing and flashy :] The third quote is a good one to keep to heart.
Posts
0 Comments:
Post a Comment