EDITORS

Editors:
This entry should be more about the role of the editor in the film process. You could choose your favourite editor and use them to illustrate the role of the editor. You should aim to answer the following questions:

- Who do editors work with?
It depends of the flexibility of the editor, in some cases, they have a separate auditory so they may work with the whole team, while in other cases, they may give the editor the raw material and "manage you way to edit it".


- Can you see, define, or even tell an editor's style
No, it's almost impossible at our position, maybe if you are another film editor, you can recognize anotherone's work. As Agnès Guillemot, editor of her last film "Un steack trop cuit" (1960) stated "It is possible to recognize the “footprint” of an editor as it is that of an orchestra conductor of a musical work. But the editor must embrace the personal rhythm of each director and not impose her own."


- How do editors define their work on production, or their own work?
They define their work as putting together the "stuff" gaved to them, or in other words to join the puzzle. Although this work is not on production but better said post-production work.

- How much creativity, or flexibility, are editors allowed - do they make any decisions or are the final cuts in the hands of the producers and directors?
I think it's kind of question one. "I would say there have been two main influences: 1) The good director who provides enough material to allow total flexibility—for his ideas, and for his tenacity. 2) The poor director, who provides indifferent material and often not enough of it. Here the editor’s left with only one way to go—to pull something out of the bag." Ernest Walter.

- How has the process of editing, technically or creativiely, changed over time?
The editing job has been changed through time in a possitive way, although its complex with the time, it has more support from technology advances. Renée Claude Lichtig, a XX century, french editor stated for the Editors Guild Magazine "The greatest transformation in the editing of the films of the Sixties was brought about by Jean-Luc Godard. He found a new continuity in the manner of telling a story in time by utilizing ellipses in the editing of the images. These changes took place after the first films of Godard. He influenced the filmmakers of the whole world."


- What will you do in the pre-production and production stages to fulfil your role as an editor?
Work together with the cinematographer and the director, in this case Matias Bianchi and Francisco Guerini, because in response to what we agree my decisions will vary, this is why I need to be involved in the discussions. I will always talk to my group before editing what I want, to see if they agree.

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

Predictions for Oscar Prices

Best Picture: The Hurt Locker
Actor in a Leading Role: Jeff Bridges
Actor in a Supporting Role: Christoph Waltz
Actress in a Leading Role: Sandra Bullock
Actress in a Supporting Role: Monique
Animated Feature Film: Up
Art Direction: Avatar
Cinematography: The Hurt Locker
Costume Design: The youung victoria
Directing: The Hurt Locker
Documentary Feature: The Cove
Documentary Short: The Last Campaign of Gobernor Booth Gardner
Film Editing: The Hurt Locker
Foreign Language Film: El Secreto de Sus Ojos
Makeup: Star Trek
Music (Original Score): Avatar
Music (Original Song): Crazy Heart
Short Film (Animated): Logorama
Short Film (Live Action): Miracle Fish
Sound Editing: The Hurt Locker
Sound Mixing: The Hurt Locker
Visual Efects: Avatar
Writing (Adapted Screenplay): District 9
Writing (Original Screenplay): The Hurt Locker

The Blind Side

The Blind Side" is based on the true story of Michael Oher, a homeless African-American addolescent from a broken home, taken in by the Touhys, a well rich white family who help him offering him food and home. At the same time, Oher's presence in the Touhys' lives leads them to some insightful self-discoveries of their own. Living in his new environment, the teen faces a completely different set of challenges to overcome. As a football player and student, Oher works hard and, with the help of his coaches and adopted family, becomes an All-American offensive left tackle.