Film Editing

Film editing, is the process of selecting shots, arranging and modifying them in order to clarify and refine their form and content. editing is in the post productino of the movie and should be anticipating when writing the script.
A film editor splices separate takes into a coherent film. It is not a simple matter of tacking the scene inside the house on after the scene of the man walking up to the front door. In the film industry the editors play a dynamic and creative role.

New Editing Systems

"New editing systems are moving into prominence and will be added as one of the many editing tools. Experienced editors should do well with these systems, but I'm not sure about how the emphasis is placed. The name of this game is editing. The computers will not edit for you, you must do that. The emphasis should be on the creative editing process. It takes many years to develop into a competent editor, capable of making a contribution, but it takes only three or four weeks for an editor to learn which buttons to push in order to make cuts and overlaps and things like that. Whether your editing decisions are fast or slow, those editors who have sufficient experience will creatively support their directors with suggestions and ideas and not just be pushing buttons. So prepare yourself. Not only on the mechanics of these devices, but more importantly prepare yourself with the techniques and aesthetics of film editing. When I learn the Lightworks and the Avid, which I'm in the process of doing, I'll be able to bring my experience into that arena. It is just another scissor. If I did 'Schindler' on a Lightworks it would look just like it looks now. But the Lightworks won't edit for me. I must do that. Audiences don't know what you work on. But I'd love to see more discussions and more talk about aesthetics and creative editing than about mechanics. What I bring to it is a lifetime of experience. Now the young editors that want to grow, you can learn to push the buttons, but you better learn how to edit as well. Learn what makes pictures work. That's the important thing.

Style of Editors

Michael Kahn, http://www.blogger.com/post-create.g?blogID=3329405671801322942, A lot of what we do is rhythm and pace and feeling. We do a lot of things from feeling, not necessarily from knowledge. I edit with music. Whenever I go on a picture I always do research before. We find music we'd like to use and it's good to put music in - even if it's wrong ... it's good as a guide. It helps the emotional level. There was a lot of music [in 'Schindler's'] but it couldn't be big big score, it had to be something that's more introspective". I never know whether I'm doing good or bad in a sense - whether it's a great piece of work or not. I think attitude is very important and - if I do anything right, I think it's my attitude toward film, my approach to the director of the film.

Editor

Favorite Editors:

Michael Kahn: Schindler's List (1993) and Saving Private Ryan (1998). Often works with Spielberg.

Thelma Schoonmaker: Raging Bull, The Aviator, and The Departed Shutter Island (2010) Gangs of New York, often works with Martin Scorsese.

Jamie Selkirk, The Lord of the Rings film trilogy. Often works with Peter Jackson.

Christopher Rouse, The Bourne Ultimatum Paul, often works with Greengrass.

Christina Jean, The Hurt Locker, Spider-Man 3.

Bob Murawski, Drag Me to Hell, The Hurt Locker.

Best Film Editing OSCAR 2009:

Slumdog Millionaire - Chris Dickens

Best Film Editing OSCAR 2010:

The Hurt Locker - Bob Murawski and Chris Innis