I just completed a semester teaching film
editing at University of North Carolina School of the Arts, and I loved it.I spent everyday with students of cinema
whose enthusiasm was unbridled.I
revisited movies that inspired me when I was their age: THE GRAND ILLUSION, LA
STRADA, BREATHLESS, THE GRADUATE, BONNIE AND CLYDE, and THE GODFATHER, to name
a few. And I shared anecdotes and assigned published interviews with amazing editors --
all in order to pass along my beloved craft!
There’s no better place to do that
nowadays than a university or conservatory. It was differentwhen
motion pictures were edited on celluloid – run through clacking Moviolas or
humming Kems and Steenbecks, spliced together with scotch tape.There was a real master/apprentice system in
cutting rooms, with assistant editors learning their craft directly from
editors and directors. But that arrangement has changed.
I started in feature post-production in the late seventies, a key part of the
assistant editor’s job was to find pieces of film for the director and
editor.Working on MANHATTAN, as Woody
Allen and Sandy Morse repeatedly viewed Dianne Keaton’s close-up and the
subsequent shot of Michael Murphy, for example, I’d head to a box containing
the tail of Keaton’s shot, then to one containing the head of Murphy’s. As scrutiny
continued, I’d roll down to the actual frames that might be needed. If I did my
job well, I’d have the correct piece in Sandy’s hand as soon as she asked for
it.Of course, such efficiency would
have been impossible if I hadn’t been in the room listening. So I began to learn the craft of editing --
why to trim a given shot or extend another, why to restructure a section of the
movie, delete a whole scene, or be wide instead of close -- by eavesdropping.
But in the mid-nineties, digital systems
eliminated finding pieces of film as an assistant editing task.Now the editor presses a computer key when
she and the director need to extend or change a shot; as a rule, the assistant
works on sound and visual effects or organizational assignments in a separate
space. Thus classrooms, not cutting rooms, have become the best venues for
teaching our craft. We try to involve assistants in the process by discussing
our cutting choices at the end of each workday or when we turn scenes over to
them for temporary sound effects editing. But these brief chats are no substitute for
the fulltime immersion of yesteryear.
was exciting, then, to share the invisible art at North Carolina’s prestigious film
conservatory. I began by teaching the fundamentals of cutting I learned so long
ago when, filled with misconceptions, I found myself retrieving pieces of
celluloid for editors and directors. Back then I believed, as most lay people
do, that the primary goal of editing was to fix mistakes. It isn’t.As I told my students, the more essential (and
more exciting) task is to make sure great moments wind up in the finished film.
Forget perfect match cuts.Forget
anything but allowing yourself to be moved by the best material, then figuring
out how to use it.
We read an interview with Thom Rolfe,
co-editor (with Marcia Lucas) of TAXI DRIVER. In it, Rolfe talks about Robert DeNiro’s iconic
“You talkin’ to me?” monologue. When the editor viewed dailies, DeNiro’s
performance blew him away, but the scene’s lack of coverage – of other angles
to cut to – seemed problematic.Yet Rolfe
couldn’t not use the actor’s
brilliant work.So use it he did!And, to this day, I’ve never heard anyone
complain about the way this brilliant scene is put together.
The TAXI DRIVER monologue provided a
perfect segue to classes I taught on the primacy of performance itself.Before I actually worked in the industry, I’d
read theoretical writings on editing by filmmaking pioneers Eisenstein and
Pudovkin, and I knew that movies with great chase sequences won Academy Awards.
Thus I came to the craft thinking it was, first and foremost, about picking
shots that would produce some sort of cool effect when juxtaposed. That’s why I
was surprised, on my first feature film, to see Woody Allen and Sandy Morse
invariably consider performance above
all else when selecting takes.
In class, I explored such issues as
emotional complexity and authenticity – keys to performance selection - using interviews
with film editors Dede Allen, Anne Coates and Sidney Levin.I screened clips of awe-inspiring work by Marlon
Brando and Vivienne Leigh, Al Pacino and John Cazale, and Anthony Quinn and Giulietta
Masina.We even discussed photos and
paintings of great, expressive faces.I
taught what I had learned in cutting rooms:when constructing a movie’s first assembly, great acting trumps great
camera movement, great composition…
Once I’d gotten across the idea that excellent
performance is the most important criterion when selecting takes for a first
cut, I pulled the rug out from under my students by telling them that after the first assembly of a motion picture,
its pace might become even more important than what the actors are doing.I assigned an interview with Dede Allen about
Robert Rossen’s THE HUSTLER, in which the legendary editor talked about how
painful it was to lift one of Paul Newman’s best moments from the film. The
deletion was necessary because THE HUSTLER’s audience had already garnered the
scene’s information from an earlier bit that couldn’t be removed; Dede and her director discovered the movie was
more engaging when it ceased to be redundant; the audience would never miss a
performance of which it was unaware.
And I talked about similar experiences of
my own: as an assistant, I watched Sandy Morse and Woody Allen eliminate an
entire character from STARDUST MEMORIES because the film as a whole had already
said everything the additional character might.Years later, Josh Radnor
and I also removed a character’s plotline – one that seemed important in the
script but not in the rough cut - while working on his movie, LIBERAL ARTS.
There were so many delights in sharing the
craft of editing: talking about uses of sound effects and music, about the
difference between pace and rhythm, about intentionally breaking hard and fast rules… And
I got to work with extremely capable
student editors on their senior films and advise others on independent projects.
I brought Editor’s Guild and ACE president Alan Heim to campus, where he screened
ALL THAT JAZZ for an ecstatic crowd, and watched students mature right before
my eyes as he worked with them one-on-one. I had the privilege of teaching
alongside brilliant and dedicated editing colleagues and pedagogues from all
filmmaking crafts and areas of cinema studies.
Most surprising to me, though, was the
realization that teaching makes me a better editor. Having to articulate what I
know and how I know it enables me to focus more sharply. And at times, it helps
me come up with creative solutions to cutting problems more quickly.
Other editors tell me they’ve had similar
experiences.David Bondelevich, film professor
at University of Colorado Denver and past president of Motion Picture Sound
Editors (MPSE) and Cinema Audio Society (CAS), shared this quote: “To teach is
to learn twice.” (Joseph Joubert). David sees his need to state complicated
ideas in simple terms as an exercise that has enhanced his craftsmanship.
Norman Hollyn, ACE, esteemed author,
editor and professor of cinematic arts at University of Southern California,
agrees, and adds that he learns from those he’s instructing. “Questions that
our good students ask,” he says, “help me to question my built-in assumptions
about editing, open me up to other forms, and (perhaps most importantly) teach
me how to better question myself.”
Norm’s insight resonates deeply for me. It
captures not just how dazzled I was when a student showed me her favorite K-pop
videos – the first I’d ever seen - or when she and other students showed me
truly original work.It also reminds me
of what a living, breathing entity the student/teacher relationship is, and how,
consequently, filmmaking itself continues to evolve and inspire!
Michael R. Miller has had a dream career in film editing. After graduating from Cornell
University, he landed the plum job of assistant editor on Woody Allen’s MANHATTAN. He worked in the same capacity on Mr. Allen’s STARDUST MEMORIES and on Martin Scorcese’s RAGING BULL. Subsequently Mr. Miller became a sound editor on Joel and Ethan Coen’s BLOOD SIMPLE, and went on to collaborate with "the boys" as picture editor of RAISING ARIZONA and
MILLER’S CROSSING. His many other cutting credits include Terry Zwygoff’s GHOST WORLD, Herbert Ross’ BOYS ON THE SIDE, Thomas Carter’s SWING KIDS, Rocky Morton and Annablel Jankel’s D.O.A., Keenan Wayans’ I’M GONNA GIT U, SUCKA,
Paul Dinello’s STRANGERS WITH CANDY, Michael Bay’s ARMAGEDDON, Rupert
Wainwright’s STIGMATA and Anthony Hopkins’ SLIPSTREAM. He also edited Josh Radnor’s HAPPYTHANKYOUMOREPLEASE, winner of the 2010 Sundance Film
Festival Audience Award, Mr. Radnor's well-reviewed LIBERAL ARTS, which premiered at Sundance in 2012, and Maya Forbes' INFINITELY POLAR BEAR, which also premiered at Sundance. He is currently a film professor at University of North Carolina School of the Arts.