The choice to edit non-linearly serves the story incredibly. If you erase the pain, you erase the love.Įvery decision in this film drove us to this point. What do I mean by story? Story is what the film is actually about.įor example, in Eternal Sunshine of the Spotless Mind, the plot is Joel decides to get his memory erased because his ex-girlfriend had him erased first. Walter Murch’s second rule-does the edit advance the story?ĭoes the cut, transition, or edit, move the story in a meaningful way? Whatever decisions you make as an editor, do you keep the story in mind? While this post doesn’t dive too deep into sound editing, it is a vital element when editing with emotional tone in mind. Let's see how Murch matches his edits with this emotional feel by cutting sound. The fear of Sollozzo killing Michael's father creates a darker, unpredictable tone for the scene, and consequently, the rest of the film. But in the infamous restaurant scene, Michael is faced with a pretty serious obstacle-Sollozzo. If we take a look at The Godfather , one of Walter Murch's editing masterpieces , we know our main character, Michael, wants nothing to do with his family's lifestyle. Let’s dive into an example to make this as clear as possible. If you want to maintain this tone throughout the story, the cuts and transitions should match that tone. Is this transition or cut in line with the general emotional experience of the story? General emotional experience of the story is the vibe or tone you have set. Not necessarily that you have to make them feel sad at one cut, or happy at another, this rule has more to do with what the film feels like.Īre your cuts working in the right emotional tone or feel for what you are going for overall? Let’s begin with his first rule, emotion, accounting for over 50% of what makes a great cut.Ī good rule of thumb for understanding this is to ask yourself: how will this cut affect the audience emotionally at this moment?
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