31/08/2010

Entrevista a Thelma Schoonmaker

"Thelma Schoonmaker ha sido la editora de Martin Scorsese desde que empezaron sus carrera conjunta en Raging Bull. Con una colaboración que abarca casi cuatro décadas, Schoonmaker ganó recientemente su segundo Oscar, habiendo sido nominada en otras tres ocasiones en el pasado. Hizo un hueco en su trabajo en The Departe para charlar con nosotros.

Tienes dos Oscar, enhorabuena. ¿Qué crees que te llevó a alcanzarlos tanto en Raging Bull como en The Aviator?
Creo que fue el deslumbrante estilo que Martin Scorsese le dio a las dos películas. Ello me dio un gran material con el que trabajar, y el montaje de las escenas de pelea en Raging Bull y los accidentes de avión en The Aviator eran muy visuales.


¿Qué pasa con eso de que una película de Scorsese inspira a la gente a hacer su mejor trabajo una y otra vez?
Ya sabes que un maestro está en los controles. Marty infecta a la gente con su entusiasmo y pasión por el cine, su gran calidad, su rechazo de cualquier cliché y su hermoso estilo. A la gente le resulta difícil separarse de él al final de una película. Sufren la retirada de Marty.

Mirando la lista de películas que has hecho, no hubo películas en los 70, luego Raging Bull... ¡Qué regreso!
No pude trabajar en las películas de Marty en los 70 porque no estaba en el sindicato en Los Angeles, donde Marty se había ido a la bancarrota. Así que, trabajé en documentales durante un tiempo.  Cuando me fue posible trabajar en Raging Bull, estaba aterrada: nunca había estado en una gran película de Hollywood. Pero Scorsese me tranquilizó y me dijo que me ayudaría a adaptarme y lo hizo. Así que me encontré que estaba trabajando en una de las películas más originales y enérgicas nunca hechas.


Rara vez es el montador tan prominente en los extras de un DVD como lo eres tu en las ediciones especiales de Scorsese: The Raging Bull, The Aviator, y ahora Casino.
Cuando trabajas para alguien tan fascinante como Scorsese, hay mucho que decir. Hemos trabajado juntos durante más de treinta años, y me gusta dejar conocimiento a la gente sobre algunos detalles del modo en que dirige sus películas.

¿Por qué es el montaje uno de los pocos trabajos en la industria cinematográfica en el que las mujeres tienen propiedad?
Creo que las mujeres hacen buenas colaboraciones, y todos los directores merecen este tipo de apoyo. El montaje requiere un trabajo muy duro, paciencia, disciplina y unas técnicas bien organizadas, y estas son una acción instintiva de la mujer. Por supuesto, el talento es lo más importante en el montaje, un sentido de cómo dar forma al material, de cómo obtener lo mejor de las interpretaciones de los actores, el ritmo, la estructura, un buen sentido musical - y ello es algo que no solo las mujeres tienen.

Es interesante que menciones un buen sentido musical. De hecho, fuiste ayudante de director en la película Woodstock, ¿no?
Solo trataba de ayudar a llevar a cabo el rodaje. Scorsese estaba ayudando al director y camarógrafo Michael Wadeleigh a organizar los movimientos de cámara entre todos los operadores en la escena, pero resultó imposible. Los auriculares que los operadores llevaban daban altas sacudidas de sonido de algún sitio, y podías verlos arrancándose los auriculares por toda la escena. Así que, Scorsese concentrado en ayudar a Wadleigh decidió que canción cubrir y todo lo demás en lo que podía ayudar. Yo solo estaba intentando mantener a las revistas informadas de la película y peleaba con reporteros que intentaban subir a la plataforma que habíamos construido par Wadleigh. Fue como una guerra.

¿Cómo es capaz un editor de empezar a dar forma a algo tan grande?
Todo tenía que ser sincronizado a ojo, y teníamos gente trabajando 24 horas al día haciendo eso. Llevó mucho tiempo encontrar la forma de la película e integrar los fragmentos de documental con los números de música. Pero fue muy divertido.

¿Trabajaste posteriormente en la gira de rock de Paul McCartney?
No trabajé en la película del concierto pero hice une pequeña pieza para la televisión sobre la vida del backstage. Esto fue en el periodo en el que no pude trabajar para Scorsese. Fue otra experiencia feliz.

Tu y Scorsese trabajasteis en el video musical de Michael Jackson "Bad"- ¿Cómo fue editar esto? Mucha gente ha dicho que la MTV se basa en realidad en el montaje.
Cuando sea que Scorsese hace una película regida por la música, tiene un don para ponerle imágenes a la música. Pudimos soltarnos con "Bad". No había tenido oportunidad de ver mucho la MTV, pero, cuando lo hice, lo vi. Está claro que el montaje es el 50% del efecto.



¿Cómo de distinto afrontas un documental y una película dramática?
Un documental es todo un desafío porque te dan mucho material bruto y normalmente tienes que encontrar una estructura. Pero los largometrajes son un desafío distinto: tienes una historia y un diálogo para el que tienes que encontrar la forma y el ritmo. Principalmente, tienes que hacer que el material resuene para los espectadores.

Ahora, en la era de los DVD, puedo imaginar a estudiantes de cine viendo tus películas fotograma a fotograma para ver cómo hiciste lo que hiciste.
Es fantástico para los estudiantes de cine que ahora puedan estudiar una película al detalle. Cuando Scorsese y yo éramos estudiantes de cine, solo podíamos ir a las salas de arte y ensayo a ver las películas en una pantalla. Pero hacemos nuestras propias películas para ser vistas de un modo, y la primera impresión que uno tiene de una película debe de ser idealmente como la que ve en una pantalla. Nada puede remplazar ese momento. Compartir la experiencia con espectadores es verdaderamente importante, en vez de ver una película en DVD, tu solo. Pero cada vez más, esta es la manera en que las películas son vistas; eso es innegable.


Con escrutinio que conlleva tu trabajo, debes saber cada película inmediatamente después de haberla acabado.
Oh, claro, me se las películas de memoria. Conozco cada linea y cada corte, y permanecen en mi cabeza durante mucho tiempo. Mis ayudantes y yo habitualmente empezamos a hablar con los diálogos de la película en que estamos trabajando y de otras que hemos trabajado. La gente que viene a la sala de montaje por primera vez puede sentirse un poco confusa. Tenemos nuestro propio lenguaje compuesto de frases que nos encantan de las películas de Scorsese, que se remontan hasta Raging Bull.

¿Cómo de complicado es librarse de todo después de todo ese duro trabajo?
Era muy complicado dejar de trabajar de repente en una película, cuando esta me había absorbido todas las horas de mi vida durante un año. Cuando me sucedió esto por primera vez en Woodstock, creí que me estaba volviendo loca. Trabajando en una película, desarrollas bonitas amistades y compartes momentos muy excitantes con la gente. Y luego, de repente, se van, y la película en que trabajabas se va también. Sin embargo, ahora estoy a punto de trabajar en los documentales que Scorsese está haciendo de la historia del cine, así que no tengo la ansiedad de la separación ahora."


Traducción por Pablo Hernández.

30/08/2010

Talking with Dady Dorn [Interview]

Tres entrevistas a la montadora Dady Dorn:

"Editor Dody Dorn stepped into the spotlight with her bravura work on director Christopher Nolan’s Memento, which featured a complex plot almost mathematical in its ordering of confusion to create clarity. Perhaps that’s related to her love of numbers since attending Hollywood High School and her first career goal - to become a math teacher. But her part-time job working the switchboard at her dad’s small shooting stage led into work as a PA, assistant location manager, assistant to the producer and, finally, assistant film editor. Finding it difficult to make the leap to film editor, she moved into sound editing, where she thrived on projects including Silverado and The Abyss. But she kept her hand in film editing, mainly small indies, until Memento put her on the map. Since then, her editorial credits include Matchstick Men and Insomnia.

How would you describe your style as an editor?
I am a collaborator. I see myself as the shepherd who gets the film safely home. My primary aim is to manifest the vision of the director. I rely heavily on the response elicited from the first time viewing. I do my best to be removed from the trials of getting the image on celluloid. If I know about the difficulties that went into getting a particular shot, I may not be able to judge it honestly. I also am drawn to material where the editing and editing style play an upfront role. I appreciate invisible editing, but it’s fun when editing can be conspicuous, provided it is adding to the narrative and not done for its own sake.
Editing is making choices. During post-production, I work with the director to mine the best film out of the material that was shot. Leaving no stone unturned and going with my gut instincts, two seemingly diametrically opposed concepts, are techniques that I put to use on every film. That strange combination of hard work and divine inspiration probably means, inevitably, that I have left my stamp on the films I’ve edited.

What was the significance of working on Memento?
With its non-linear backwards chronology, Memento brought the power of editing into the consciousness of the movie-going public. As with most great films, it started with a great script. Prior to meeting with Chris Nolan, I had to read the script several times to fully grasp what was going on. I was thrilled at the prospect of working on a film where the editing would play an up-front-and-center role. The chronology was astutely and precisely laid out in the script, and I used it like a blueprint during production. It was a joy to work with Chris because his vision was so clear. The challenge in post was to figure out how much of each repeated scene we needed to show in order for the audience to know for certain they were seeing the exact same action for the second time. We tried to achieve a balance of the right amount of disorientation without losing the overall narrative thread, thereby allowing the viewer to experience something akin to Leonard’s condition. We ultimately joined a couple of scenes together that were scripted to play twice in flashback but, other than that, the structure from the script remained intact.

Editing went digital some time ago. Does technology continue to impact your job and your creativity?
I started editing before the digital revolution, so my technical skill and knowledge is rooted in traditional 35mm celluloid film editing. Being able to immediately see dissolves and other visual effects and do more extensive sound and music work on the computer probably stimulates some inventive ideas that might not otherwise get tried. Regardless, the elements of good storytelling are the same and the overuse of visual effects and technology can get in the way. I use the computer as a tool. Sometimes I work as if I were cutting physical film. I view the material, take notes, make my choices and put the scene together. Other times, to get started, I quickly cut a bunch of shots together, and once I have the A-to-Z pieces assembled, I review, refine and shape the scene. This is a method that would be physically harder to do on film. Happy accidents happen more often working this way.

What should readers know about the role of an editor?
It is still a commonly accepted notion that the editor just "cuts out all the bad bits." I like editing more to sculpture. I don’t claim to be Michelangelo, but I like to think that when I am watching the dailies projected for the first time, I am seeing the pure essence of the film and that I work toward preserving and presenting that essence in a form that is accessible while still being artful.
What are you working on now?

I am working on Kingdom of Heaven for Ridley Scott. I have never edited an epic before, so it is exciting and challenging in its scope."

 Interviewed by Debra Kaufman on July 1, 2004

 

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 "Dody Dorn grew up with the film industry in her blood. Her father worked as a set builder/designer and later as a movie producer. She was still in high school when she began working at his sound stage, Hollywood Stage, where she made the contacts that would ultimately allow her to find work in her chosen field--motion picture editing.

After working a number of production positions, including assistant to the producer, script supervisor and assistant location manager, as well as production assistant on Elvis, (the John Carpenter MOW), she was offered the chance to assist that film's editor, Chris Holmes. Dorn found a home in the cutting room. Earlier this year she received an Oscar nomination for her work on Christopher Nolan's Memento. Recently she has teamed up with Nolan again for Insomnia, the much talked-about psychological thriller starring Al Pacino, Robin Williams and Hilary Swank. Here Dorn talks about the various roles she's taken on in the film business, why she gravitated toward editing, and her second go-around with Chris Nolan.

Jennifer Wood (MM): You've worked in so many positions in this industry, including producing, directing and acting. How did you decide the editing room was the place you liked best?
Dody Dorn (DD): I knew through my work on films in post-production, both as a sound editor and a film editor. After seeing so many films and educating myself about film history and filmmaking, I grew to love cinema. I worked as an assistant editor until 1982, when I started working as an assistant sound editor. I learned the craft of sound editing and moved on to being a sound editor and supervising sound editor. I started my own company, Sonic Kitchen, in 1986 and continued working in sound through 1999. My company did well and I was getting jobs on bigger and bigger films, and I got a lot of recognition for my work. I was the supervising sound editor on James Cameron's The Abyss, and we won a Golden Reel award for Best Sound for that film, which was also nominated for an Academy Award for Best Sound. Shortly after that, I decided to move back to picture editing. I found, as my business became more successful, I was moving further and further away from the creative work that had attracted me in the first place and becaming more of a business person--something I wasn't interested in at all. I felt working as a film editor would bring me closer to the center of the creative process of filmmaking and collaborating with directors, which was what I loved most.

MM: What do you think is the biggest misconception people have about what a film editor does? What was your own biggest misconception when you were first starting out?
DD: The average moviegoer thinks the editor cuts out all the bad bits. Of course editing a film is an involved, complicated, collaborative process where the editor combines his response to the material with his interpretation of the script and the additional information the director provides through conversation and analysis of the material. There is also a lot of trial and error in the editing room. Even if a director has a clear vision of what he wants, until the images are actually juxtaposed and the rhythm is defined by the editing, you never really know how it will work.

MM: What are the biggest changes you've seen in your job since first starting out? How has digital technology changed the way you work?
DD: Because of the AVID and other non-linear systems and the ability to try many different edits of a film while being able to keep previous versions, there is probably a lot more experimenting that goes on. There is also a greater acceptance of different editing styles and rhythms now than before. MTV is often referenced as being responsible for that and certainly the non-sequiturs one can see in a music video at every turn have opened up people's minds to using imagery in more non-conventional and experimental ways. But editing, regardless of the technology, is still editing. There is still a story to tell and how that is achieved is basically the same whether you're editing on a Moviola, a flatbed or an AVID.
Digital technology hasn't really affected my day-to-day duties very much. I am still responsible for looking at the material and putting it together in a cohesive fashion that tells the story as well as possible. I still need to do this work quickly during shooting to make sure all the elements are there. The one big change is that I'm able to work in a more elaborate fashion relative to opticals, visual effects, sound and music than I would be able to do on film. If I want to try a dissolve, I can see it right away. On film, I would have to pull the pieces and send it out to have a temp dissolve done from the printed dailies. That could take a day or two. It wouldn't stop me from working, because I would just go on with something else while waiting for the temp optical to come back, but it is not as convenient. I can lay sound and music in right away and start trying out ideas for a direction to go in much earlier.
When editing on film, you have to think very carefully before making a cut. You are working with a daily work picture and you don't want to make a bunch of unnecessary cuts and make the work picture look all messy. But on the AVID, that is not a concern at all since it is non-destructive. From looking at an edited AVID work picture, you can never tell where some of the other edits you once tried are. So once in a while, I edit in a slightly quicker fashion just to get something put together so I can start working on refining that.

MM: You've worked both on big budget, special-effects laden films and low-budget indies. Do you have a preference for one over the other?
DD: I really don't. I love cinema, and any story or filmmaker that intrigues me is what keeps me excited about a project.

MM: What is your process for accepting a project? What is your preferred method of working?
DD: I start by reading the script. Some films I reject out of hand if I can't relate to the subject matter. Occasionally I will meet on a script that I don't have strong feelings about one way or another, because a meeting can push me over into wanting to work with someone, or they explain their vision in such a way that piques my interest. Also, a director, writer, or actor whose work I admire could definitely come into play. One of the most important things is getting the sense that I would like to sit in a small dark room with the director for hours, days, weeks and months on end and that they feel the same way. It is a kind of marriage so it's best to make sure it's going to be enjoyable.

MM: Are you usually close by the set or do you work remotely?
DD: I like to be in close proximity to the set. I like to see the set and to be able to communicate with the director and the DP. I like to have as much communication as time allows with the director during shooting as to his intent for any given scene and get his comments on the performances. All of these reasons are a matter of convenience and quick access to the director or DP.
But I don't like to be on the set while shooting is going on. I prefer to be removed from the actual shooting because I see it as being a large part of the editor's job to be objective. Having been there while something is being committed to film clouds that objectivity. I need to see the performances and images fresh for the first time in the screening room while watching dailies, seeing the film, and not beyond the edges of the frame, as an audience member would see it. If I know it took them hours to set up a complicated dolly crane establishing shot, and how hard it was to get all the elements to fall into place, it will be much harder for me to say to a director when we're trying to cut five minutes out of the film--"We just don't need this shot."

MM: Before cutting picture you worked steadily as a sound editor. Is it easy to shift gears when editing for one sense over another? Could you employ a lot of what you learned as a sound editor to your work as a picture editor?
DD: I see a finished film as a total product and I cannot separate (nor do I want to) the various aspects of the film. The images work in conjunction with the sound and the music and they need to be considered together, in just the same way that the rhythm and juxtaposition of the images need to be considered. I do use my experience in sound all the time. I work with temp sound and music in the AVID from day one. I may sometimes edit without sound for technical reasons, but putting sound in follows very close behind and will definitely affect how I evaluate what I have edited and will often stimulate changes.

MM: In what ways can a director make it easier for the editor to do his or her job?
DD: Communication is the most important part of the director/editor relationship. I love the collaboration with the director so I am always happy when a director wants to be in the editing room. I also truly enjoy being immersed in the footage and the narrative. I go into the story and live with the characters. If the director is communicative, either directly or obliquely about his vision for the finished film, I have more to work with. Naturally, the material speaks a lot for itself, but more information is better. If there is no communication, I can certainly edit a film, but it may not be the film the director wanted.

MM: How did you first come to meet Christopher Nolan and begin work on Memento? I imagine that, at first read, the script itself was a bit confusing. How closely did you remain to script? Also, how close did you keep that script to you while editing?
DD: I met Chris Nolan via a meeting set up by my agent, Heather Parker, at Innovative Artists. I was fascinated by the script and had to read it several times before our first meeting. I did not understand it fully, but knew it was going to be fun to edit. I had no idea that it would make the impact that it has made. Many aspects of the film did not reveal themselves to me until I was editing the pieces together. I used the script as a very literal blueprint and followed it precisely while editing. After Chris and I finished his first cut of the film and we watched it all the way through, we decided to join a couple of the scenes and then lose a couple jumps to the black and white motel room scenes. No material was left out, though. The intricate puzzle piece construction of the film made every moment essential. The black and white scenes informed the color scenes and vice versa, so it was a delicate balance of keeping the narrative alive while trying to maintain the disorientation that was meant to be felt by the audience--all in the name of creating a viewing experience that most closely mirrored what it must be like to live life with Leonard's condition.

MM: Obviously, the structure of Memento was one of the keys to its originality. In what ways did the structure make it easier for you as an editor? In what ways did it pose unique challenges?
DD: Most narrative films are conceived first as a script and editors refer to the script when editing. In the case of Memento, the structure is definitely part of the narrative, so it had to be written, performed, shot and therefore edited with that in mind. I stuck rigidly to the script and needed to refer to the script more often than I might normally do, because the natural chronology had been altered. I had to create banners to run across the entire film to indicate where in the film I was, because the chronology did not follow the usual logic.
Also, the black and white footage in the motel room was shot at the end of the shooting schedule, so I needed very detailed 'scene missing' banners that indicated exactly what was missing. A simple 'scene missing' banner would not do. I could not make any changes or adjustments in how the color transitioned to the black and white until I had those elements adjacent to each other. As I mentioned, we did make some adjustments to the number of cut backs between the black and white and color, but not until after completing the director's first cut.

MM: You're back working with Christopher on your latest project, Insomnia. How has the process changed for you this time around, if at all?
DD: The main difference in the process is that Chris and I didn't have to get to know each other this time around. We both know and understand how the other works and communicates. There is a high level of trust.

MM: Whereas Memento was a completely original story, Insomnia is different in that it is the remake or retelling of Erik Skjoldbjaerg's 1997 Norwegian film. What sort of challenges does this pose to the story and the process of telling that story? You want to tell the story in a unique way, and the success of doing that relies heavily on the writing, directing and editing of the film.
DD: I saw the original Insomnia once before shooting started, but I did not study it. I was curious to see what Chris would do to make it different. I knew he was not the kind of filmmaker to strive to recreate something as a remake, but rather reinterpret it and create a completely new experience. I feel that the two films are remarkably different from each other, considering the fact that the narrative of both is essentially the same. To me, Skjoldbjaerg's Insomnia is a nihilistic study of a bad man doing bad things and Chris Nolan's Insomnia is a film noir morality tale of a good man having done some bad things and the consequences he pays.
As for what I wanted relative to similarities and differences, all I ever want is to manifest a director's vision, so going into it knowing that Chris would want to do something different, I just let it unfold as the film came together. It was a pleasure to see it happen and to be a part of that.

MM: Projects like Insomnia, where an older (and sometimes contemporary) film is remade are becoming more common. If you were given the opportunity to edit the remake of another film, what would your dream project be?
DD: I would love to see a remake of Il Generale Della Rovere, directed by Rosselini, be made. I love the film and think a contemporary interpretation of the character--a swindler completely without morals and his transformation--would be fascinating set in modern times.

MM: What do you think is the unique thread that runs through all your work?
DD: I am a material driven editor. I choose projects based on material and the filmmakers making it. I look for a unique vision. I prefer films that are edgy, rather than product that has been put through the lowest common denominator mill. It is exciting for me as an editor to work with directors whose creative minds are exposed through the uniqueness and quirkiness of their visions.

MM: Any plans to work with Christopher Nolan again? What's up next for you?
DD: I would be thrilled and honored to work with Chris Nolan again. Currently I am reading scripts and looking for my next project."

by Jennifer M. Wood on February 3, 2007


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"Dody Dorn is an award winning veteran features editor who has been nominated for an Oscar for her work on Christopher Nolan’s Momento. She has worked with the best directors and cast in the industry from Ridley Scott and William Monahan to Al Pacino and Hilary Swank. Dody has edited hollywood blockbusters such as Insomnia, Kingdom of Heaven and Australia.
Dody started off her career in numerous production jobs before finding a passion for post production in sound and film editing. Step2Inspire are proud to have interviewed such a legendary editor who can give you advice on an industry she has truly mastered. We salute you Ms Dorn!

1. What made you want to get into the TV/Film industry?
I came into the business as someone who needed a job to pay the rent more than as a career. Once working in film, I fell in love with it, especially the alchemy of editing.

2. How did you get your foot in the door?
Growing up in LA, there were a lot of entry-level jobs that I could do to earn a paycheck. I took on work as a production assistant, location manager, production coordinator, and assistant to the producer, among other jobs, as a means of getting a sample of all the crafts. Once I landed in post-production, I found my passion and never looked back.

3. How did you gain the necessary skills to be an editor? (education, training, career progression e.t.c.)
All of my training was through practical experience. I learned the skills needed to be an assistant film editor by reading books, grilling other friends who were assistants, calling rental houses to learn names of the gear and how it worked, a lot of trial and error, and elbow grease. I was also keen to work in as many formats and work environments as possible to always keep learning and broadening my skills.

4. What has been the highlight of your career and why?
Editing MEMENTO was a highlight because the editing plays such a big role in the telling of the story. Traditionally, editing is meant to be an invisible craft, but in MEMENTO, the editing is part of the story. Figuring out how to do that elegantly was a very gratifying challenge.

5. What are the positives & negatives of being an editor?
Editing is an exciting blend of the creative and the technical. It is exhilarating to put two pieces of film together and create meaning through that. You might have an idea of what the impact of such juxtapositions will be, but until you do it, you don’t really know. And adjusting things by a frame here and a frame there can really make a difference. It is a constant experience of discovery. It is also inspiring to work closely with a director and have the healthy battle of ideas that creates a spark and an inspiration that might not have come if either the editor or the director had been working on their own. The negative about being an editor is that as it is a completely collaborative art, you can’t exercise your craft without someone trusting you enough to let you get your hands on their material. As a result, it is difficult to break in. The editor plays such a pivotal role, that few filmmakers are willing to take a risk on an untried person without a track record.

6. What are you currently working on?
LONDON BOULEVARD directed by William Monahan

7. Give us one harsh truth about the industry?
Until you have worked on something people have heard of, you may have trouble getting a job.

8. What is the best advice someone gave you when you started out?
Figure out what you want to do and do it as often as you can on projects you love.

9. What advice would you give to someone hoping to become an editor?
Edit as often as possible with people you like and on projects you believe in.

10. What should a new entrant expect from the TV/Film industry?
It is an exciting and highly competitive environment so expect to work hard. Don’t give up when you encounter small set-backs. If working in TV or film is your passion, with a combination of luck and hard work, you can hope to connect with like-minded people who you can work with to manifest their vision.

11. Is there anything else you would like to add to inspire newcomers to the industry?
Keep your eyes and ears open. New ideas and approaches to the art are valid. Film is a constantly changing medium. Stay fresh by being a student of life. All experiences help you to become a person who can add to the creative process. Don’t worry about getting comfortable. Stay focused on being creative, collaborative and telling a good story."

 By Liana Stewart  on Aug 20, 2010



Sources: 
www.studiodaily.com 
www.moviemaker.com/ 
http://step2inspire.tv/

29/08/2010

"Bleu" [Chanel advertising]


Dirección: Martin Scorsese.
Música: "She said Yeah" de Rolling Stones.

Uno de los grandes vuelve a este blog con un spot de un perfume de Chanel. Me gusta la edición.
La estructura es interesante. El actor (Gaspard Ulliel), durante en la entrevista, tiene flashbacks, flashbacks dentro de flashbacks. Aparece una chica morena (Amalie Bruun) y una rubia (Ingrid Shcram), esta última también presente en la entrevista. Destaca el look del spot. Una buena fotografía. Además, dentro de los flashbacks, hay planos grabados por el actor en byn de la chica rubia, lo que le da un tono más característico.

ESTRUCTURA:
-El actor está en la calle, de noche, corriendo detrás de la chica rubia. Tras un golpe de claqueta...
-Se sale del flashback con flashes de los fotógrafos de la entrevista. Vemos, que aquí, tiene proyectada sobre su cara el plano inicial.
-Planos del actor y de la chica en la entrevista. El primer contacto.  Esto hace que el actor reflexione y...
-Recueda escena con su mujer, chica morena. Donde al acariciarla...
- Recuerda los momentos con la chica rubia. Cuando la grababa con su Bolex.
-PPP ojos con flashazo en la entrevista. Un plano muy corto que imagino será para recordar la situación del actor.






-Del segúndo 0:33 al 0:36 hay una serie de planos cortos, mezclados con los byn de su cámara, de referencia de la chica.
-Se vuelve al flashback con la chica morena, y el actor se encuentra muy cerca de ella. Esta lo rechaza y se va.

-Actor pensativo en la entrevista. Un plano con un movimiento de grua que gira y se acerca y se observa que el actor fija su mirada en alguien del público. El siguiente plano es de la rubia. Contraplano de nuevo y PD del ojazo de esta. El actor finaliza la entrevista y se pira. 




MAKING OF (subtítulos en castellano):



"Betty Sue" [Agent Provocateur advertising]


Dirección: Johan Renck. http://www.rsafilms.com/
Montaje: Danny Tull (añado a "la lista").

Entre otras cosas. Un montaje a destacar. He de decir que personalmente también me mola esta línea de ropa. Si os interesa ver más lencería, o más carne, en su cuenta de youtube podeis ver varios videos de modelos, y, además, el behind the scenes: http://www.youtube.com/user/agentprovocateur

Web de la marca: http://www.agentprovocateur.com (más videos, como poco, interesantes)

28/08/2010

"Gucci Guilty" [Gucci advertising]


Dirección: Frank Miller.
Soundtrack: Friendly Fires.

Magnífico look, como es de esperar de un trabajo de Miller.
La estructura es simple. La chica rubia (Evan Rachel Wood) al bajarse del coche huele  el perfume e imagina esa escena sexy, de la que me gusta mucho el montaje, con unos cortes muy bonitos no ateniendose estrictamente al raccord. Podemos apreciar, cuando finalizan los planos de su imaginación, que posee un colgante. Así es como se sale de los planos imaginarios, con la referencia al colgante, el cual no llevaba al bajarselo del coche. Es la esencia que le ha dejado el perfume, por decirlo de alguna manera.

Behind the Scenes:


Según su canal de youtube (http://www.youtube.com/user/gucciparfums) habrá más videos de "behind the scenes", subiré a esta entrada, según vaya estándo disponible, el que crea de interés personal.

Sally Menke para Editor's Guild Magazine.

"Diálogos ácidos. Cronología astillada. Arrebatos de violencia extrema. Referencias de cine oscuro. Quentin Tarantino irrumpió en la escena del cine americano a comienzos de los 90, como un pinchazo de adrenalina en el corazón. Ganó un Oscar y un BAFTA por el guión de Pulp Fiction (con Roger Avary), y fue nominado para mejor director, con nominaciones para mejor película y mejor director también en los VAFTA. La montadora Sally Menke fue nominada para el Oscar y para el BAFTA, y ha seguido confeccionando para todas las películas de Quentin un montaje audaz y brillante. Tarantino desapareció en 1997, tras Jackie Brown, resurgiendo de nuevo en 2003 con ese crepitante alboroto de venganza, Kill Bill Volumen 1 y 2, para la que Sally Menke recibió otra nominación de BAFTA. La última película de Tarantino la ha querido hacer durante mucho tiempo: Inglorious Basterds. La pieza de la Seguna Guerra Mundial desarrolla una audaz trama para asesinar al alto mando Nazi al completo en el estreno de una película. ¿Así que, qué puedes decir de Quentin Tarantino y de Sally Menke, un equipo que nos ha dado algunas de las mas inolvidables imágenes, personajes y escenas en la reciente historia del cine? Un maletín brillante. Una katana Hattori Hanzo. Una oreja perdida. El coche de Deathproof. Fácilmente, podrías ser perdonado por olvidar todas las películas que Sally Menke ha editado para otros directores. Sally Menke sacó un momento de su ocupado calendario para hablar a Editor's Guild Magazine sobre el mundo único de Quentin Tarantino, y sobre lo que ellos llaman un cuarto de libra con queso en la Francia ocupada por los Nazis.


GG: Todas sus películas resultan ser cartas de amor al cine.
SM: Quentin y sus personajes viven un mundo cinemático. Hay muchas películas que tratan de ocultar eso, pero nosotros abarcamos el proceso de hacer cine. Creo que le gusta experimentar todos los tipos de hacer cine, y géneros, que puede.

En Inglorious Basterds, el poder del cine es literalmente utilizado para destruir el Tercer Reich.
No se trata de historia o biografía. Es un cuento de hadas, érase una vez en la Francia ocupada por los Nazis. El punto de partida es que el cine es una herramienta poderosa, y siempre lo ha sido. Cuando empecé mi carreta en CBS, trabajé en un documental sobre embarazos adolescentes. Era tan conmovedor, y emotivo de algún modo, que la fuerza se podía usar para bien o para mal. Mis niños no irán más a McDonald's debido a Super Size Me...

Se ha hablado mucho de Christoph Walt como Cnel. Hans Landa, el cazador de judíos.
Está tan seductor. Está excepcional. Quentin en fantástico en casting. Cuando encontró su Landa, sabía que necesitaba empezar a rodar de inmediato. Brad es increíble, está genial en esta película. Es un grupo de protagonistas en tres historias entrelazadas: Landa, Shoshana y los Bastardos.


He oído a un crítico criticando la última linea de la película. El personaje de Brad Pitt dice "This might be my masterpiece".
[Risas] ¿Qué puedo decir? Las películas de Quentin son siempre divisorias, y siempre inspiradoras. Va a haber a mucha gente que le encante y a mucha otra que no. Pero yo creo que esta película en realidad va a ser relevante para la mayoría de las personas. 

¿Cómo una obra catártica?
Eso espero.


De 1997 a 2003, Quentin no ha estado haciendo películas.
Estaba pensando en qué necesitaba hacer. Yo estuve criando a mi familia, así que fue una temporada perfecta.

Has trabajado con algunos grandes directores: Oliver Stone, Lee Tamahori, Ken Burns, Billy Bob Thornton, Ole Bornedal, Steve Barron...
Me encantan todos ellos. He aprendido mucho de cada película y de cada director, una nueva perspectiva, una gran apreciación del arte. En una escena Oliver dijo "Es solo mecánico." No llegaba a entender qué quería decir, y de repente se me encendió una bombilla. ¡Era solo un corte también! Me di cuenta que cada pequeña edición es importante. Hace años, este documental era un trabajo serio y yo hice con mi corte que la gente pasara a reírse. Llevé a cabo el poder del cine.

¿Cómo ha cambiado tu relación con Quentin a través de los años?
Claramente ha crecido y ha madurado pero siempre ha sido tan solidaria y excitante como el primer día. Ahora lo entiendo todavía más. Gran cantidad del entendimiento es muy tácito e íntimo. Es como vivir con una persona, como mi marido. Creces acostumbrada a sus hábitos y a sus necesidades, aunque sus necesidades cambian. Hemos estado trabajando muy rápido. Todos nosotros hemos trabajado juntos durante muchos años avanzando mano a mano, sabiendo que iba a ser un nuevo viaje, un cambio distinto, pero sabíamos cómo queríamos hacerlo. El supervisor de montaje de sonido Wylie Stateman y el montador de sonido Harry Cohen y todo su equipo. Mike Minkler, el mezclador. Él puede llevar a cabo y empezar a hacer los pre-doblajes incluso sin que estemos nosotros allí. Y no utilizamos muchos ADR1, Solo cuando algún camión ha pasado y no deja oír una palabra realmente importante, e incluso entonces intentaremos utilizar una pista grabada en el set. Tenemos un equipo muy pequeño. No me gusta estar en grandes edificios de corporativas. Cuando estaba en la CBS, era CBS, era gigante. Fue genial cuando estuve trabajando allí, pero no elegiría trabajar en ese sitio ahora. Nos gusta esta pequeña casa, en la que nos sentimos un tanto apretados. El equipo entero, incluyendo a Harvey y a Shannon McIntosh. Si se vuelve muy grande sería muy corporativa, y eso no es lo que hacemos.


Musicas y sonidos de otras películas frecuentemente son referencias.
Alguna vez, llegaremos incluso a pedir el efecto de sonido directamente, si está guay y es apropiado. O un segmento entero de una película, que puede tener música y efectos de sonido. Por supuesto que el 99,9% de nuestros efectos de sonido son nuevos. Estética y creativamente, nos permitimos copiar de otras películas, recreando de una paleta de colores similar.


Puede que no entiendas todas las referencias, pero ello te pone en un tiempo y género específico. Kill Bill tenía una viñeta del logo de Shaw Brothers al principio.
Estudiamos el género que nos estamos haciendo, a través de Quentin, que sugiere películas para ver, o por nosotros mismos. La música especialmente Mary Ramos: el supervisor de música. Algunas veces las influencias son sorprendentes. Hay algunas influencias de western en esta película: el modo en que cortamos algunas imágenes y estructuramos la película.  


Los críticos se han fijado en la escena de la granja del principio, su uso del espacio. Hay también música de Ennio Morricone en la pista de sonido.
El western de Quientin.


Una canción de David Bowie de Cat People también ha sido usada. Original para ser los años 40.
El uso de la música por Quentin es bastante notable. Realmente, articula las escenas con música. Para Kill Bill, fue a su sala de música y tocó para mí mucha música para escenas en concreto. Esto es cuando Uma está saliendo del suelo. Piensa cuidadosamente sobre toda la música, durante meses si no años por adelantado. No edito con su música antes de que venga. Luego trabajamos juntos, ajustamos y editamos la música para casarla con la película.


El montaje de Kill Bill parece muy microscopico, mostrando claramente los detalles de lo que sigue.
Meditamos sobre todo durante mucho tiempo. Nada está conectado al azar. Esto no significa que la película no cambie, pero no la rodó "by the hip" [en el inglés original porque desconozco la traducción]. Todos los directores la embellecen según avanzan, una idea nueva porque los actores están haciendo algo. Pero Quentin en realidad tiene una visión en su cabeza, y hay un pequeño grupo de gente que somos capaces de apoyarle en su visión de una forma u otra. La clave para la buena comunicación es reservar la intimidad. Es maravilloso encontrar a gente con la que puedes trabajar una y otra vez. Estamos en la misma página, y el control que viene de ahí trabaja para un producto refinado. Estamos dispuestos a explorar nuevos enfoques para hacer una película.


Quentin a menudo utiliza tomas largas, como la sala de O-Ren Ishii.
Bob Richardson es brilliante. Juntos plantean las cosas muy bien, para captar la atención de la audiencia.


Una toma larga destapa una toma más imperfecta si el rodaje no es cuidadoso.
Nunca he tenido una que no funcione con Quentin, pero si no funcionara, siempre hay trucos para solucionar cualquier problema.

Cualquier cut away, audio o efecto especial lo arregla...
Quentin no usa CGI. Utilizamos un poquito en esta nueva película pero le gusta que todo esté prácticamente compuesto.

Lo que hace funcionar a Kill Bill (y a Deathproof).
La pelea no se aceleró. Solo uno o dos planos, y los hicimos en cámara.


Mucho wire removal.
Claro. Pero no más hay artilugios. Los duelos a espadas eran reales. Un duelo con CGI2 puede quitarle importancia. Es más excitante cuando ves que la gente lo hace de verdad.


Kill Bill cambiaba de blanco a negro para tener una "valoración R" [R- restricted. Menores de 17 necesitan acompañante adulto].
No era por la censura. Eso puede ser una razón secundaría, pero nosotros no hacemos nunca nada sin  una intención artística. La MPAA son unas buenas personas. Hemos tenido que añadir muchas cosas muchas cosas para deshacernos de la R. Pero los cambios fueron decisión nuestra.


Las películas de Kill Bill llevan diferente ritmo. La primera empieza con acción karateka de Hong Kong y la segunda con un western más lento con golpes violentos.
Cuadra a la perfección así. La idea de dividirlo estaba desde el principio. Había que contar mucha historia, y se convirtió una película dividida perfectamente. Estábamos contentísimos.


Deathproof mantiene la estética de Grindhouse, con un uso cómico de material y escenas perdidas. Parece como un rasguño en la impresión.
Cogeríamos un boli, una aguja o cualquier otra cosa para rayar la película. Nina Kawasaki, mi ayudante, lo haría. Tenemos vídeo de ello. Cualquiera lo tiraría a la cuneta de la carretera, pero en realidad es gracioso. Le pedimos al laboratorio hacer este fragmento más sucio. Nunca lo conseguíamos, teníamos demasiado cuidado. Deberíamos haberlo ensuciado más en alguna parte. El laboratorio se divirtió, aunque no tuvo cuidado. ¿Querías fumar sobre ello? No había problema.

La segunda mitad me parece mucho más limpia.
Completamente intencionado. Un estilo distinto.


Algunos críticos vieron Deathproof como de relleno y se vio que llegaba a el punto de auto parodiarse. Era como un proyecto para pajearse.
Quentin nunca se pajea con nada. Se toma todo muy en serio. Es una película que fue hecha con las ideas muy claras. Quizás, la deberíamos haber hecho más corta, para el doble largo. Imaginé que algunas personas tendrían paciencia y que otras no. Me encanta la película. ¿No está genial Kurt Rusell? Y esos tráilers...


Y uno de los mejores accidentes de coche vistos en cine. Zoe Bell destaca.
Zoe es una estrella. Es increíble, y una de las personas más simpáticas del planeta. Realmente un gran talento.


¿Cómo describirías el estilo específico que traes? Entiendo que describir el arte del montaje en palabras no es fácil. Y el estilo de un editor puede variar dependiendo del estilo de la película y del director.
Sí. Por otra parte, siento que hay un ritmo interno en cada persona que es reflejado en su trabajo. De alguna manera, una pintura es como su pintor. Hay una reacción innata al material que creo que es muy mía. A veces no es lo que Quentin o cualquier otro director quiera, así que lo cambio. Me acerco al material muy detalladamente, mirando los gestos como escuchando el diálogo de lo que su cuerpo está diciendo.

Igual que hay partes dialogadas en las películas de Tarantino, hay algo muscular para algunas de tus ediciones.
¡Siempre y cuando no sea mecánico! Trato de mantener la fuerza del movimiento. En realidad no hago cortes match cuts. Es ridículo decirlo, porque lo hago. Pero siempre investigamos cómo conducir una escena, y esto es incluyendo el diálogo, sin hacer match cuts. Porque los espectadores están realmente dispuestos a aceptar mucha discontinuidad.


Te fuiste de rositas en Deathproof a propósito. La cola de operador fue inserta entre planos que no coincidían. ¿Eso te permitió hacer cosas que normalmente no podías hacer?
Un corte es un corte sea lo que sea. Lo principal y las escenas perdidas no simplificaron nada. Era el frame perfecto según nuestra decisión. Cola de operador o dibujo animado, todo está hecho por una razón, para mantener la fuerza. Muscular. No mecánico. Hay siempre una razón para cambiar de plano.

¡Para mantener la escena viva y al público despierto!
[Risas] ¡Si se duermen estamos condenados! Cada fotograma es importante, ya sea diálogo o acción. Quentin es un marcado visionario y un autor increíble que es placer en todo momento. ¿Así que que más? Yo solo estoy en mi pequeña sala oscura.


Todavía podríamos descubrir lo qué hay en el maletín.
Nunca descubriremos lo que hay en el maletín.


Creo que es una bombilla.
[Risas] Es la genialidad de Quentin. Es una bombilla, o su algo realmente especial."



1 ADR: automated dialogue replacement o, en UK, post-synchronisation. Es decir, doblaje.
2 CGI: computer-generated imagery. Todos aquellas imágenes y efectos 3D.
3 MPAA: Motion Picture Association of America. http://www.mpaa.org/


Entrevista por Garret Glichrist para The Editor's Guild Magazine a 7/13/2009.
Traducción por Pablo Hernández.


25/08/2010

"Revolución" [ZPU videoclip]


Direción y montaje: Carlos "SaoT ST" Cabrera Suárez.

Utilización de material de archivo, e incluso imagenes fijas, en una letra cargada de crítica. Planos del cantante con mucho movimiento y con un look de rasgaduras y suciedad muy underground. Hay momentos en que está claramente desincronizada la música y la imágen, queda bastante bien.

24/08/2010

Talking with Jake Pushinsky [Interview]

"When Dito Montiel demanded that Jake Pushinsky be the editor on 'A Guide To Recognizing Your Saints' it was a tough thing to sell. Tough because, aside from a little short film, Jake had no experience in editing at all. But Dito insisted -- and after seeing 'Saints' you can see why. Pushinsky's eye for storytelling and his innovative techniques helped make the film one of the most memorable in recent years and one of my all time favorite movies. It's a collaboration that continued on this year's 'Fighting' starring Channing Tatum and Terrence Howard.

Jake was kind enough to spare some time for an interview about his career so far - with particular attention being paid to 'A Guide To Recognizing Your Saints' - which just happens to be one of my all time favorite movies.

Kid: I hear you've gone straight from 'Fighting' into cutting another project - didn't you feel like a break?.
Jake: I actually took a 6 month break between projects. Fighting came out on April 24th but we finished the mix back in October. I started Howl (the project I'm working on now) in March.

I think it's really interesting to find out how people get into the industry. What was your route into the film industry? Did you plan to be an editor?
I grew up playing jazz piano and always thought I would be a musician or do something in the world of music. When I finished college I moved to LA to pursue that and got a job at a music house for television commercials. This is where I met Dito Montiel - the director of Saints and Fighting. He was writing the script for Saints at the time. My father was a screenwriter so Dito and I would always talk about his script, send it to my father for ideas, and talk about how it would be great to make the movie someday. I had no idea what my role would be though. One day during all of this we decided to go film some stuff and make a sort of trailer/short that he could send out with the script. Dito had a friend with a camera and we got some friends together and shot a day's worth stuff. We took the footage back to our office and loaded it in to Adobe Premiere. We used Premiere at the office to load commercials so the composers could watch them as they wrote the commercials so I knew the very basics of the program. With that I cut together a 7 minute short that we called 26 Moments. Wow... this is turning in to a sort of long-winded story.

Anyway... Robert Downey Jr. is a friend of the owner of the office we worked at so we gave him the script and the short. He loved it, wanted to be a part of it, and brought it to Trudie Styler (Sting's wife). She loved it too and wanted to produce it. A couple of years later when the money came through, Dito convinced them to bring me on as the editor. It was the first time I sat down at an AVID. So no, I had no plans of becoming an editor but I am very happy that I am doing it now and really love it.

How did Dito convince them to let you edit the film?. I mean, this is a feature staring A-list actors - and here you are, a guy who has never edited before. You must've been a hard thing to sell...
Well, originally they hired another editor because he couldn't convince them to hire me, but they didn't like how that was going, so he asked again to just give me a chance. After pleading and pleading, they flew me out to NY to give it a try. That makes it sound A LOT easier than it was. It was definitely a process!

The majority of my questions are around 'A Guide To Recognizing Your Saints' - one of my favourite films. With a few years having passed, what do you think of it looking back? Are you happy with your work?
Looking back on Saints I still am beyond proud of it. I think it's a real piece of art. I wouldn't change a thing... Though the original ending (the last scene with Eric Roberts) that I cut was a little longer and some people wanted it shorter. I still think the longer version was better.

You share the editing credit with Christopher Tellefsen. How did the collaboration work between the two of you?
Working with Tellefsen was interesting. Dito had to push hard to get me on the film. I had never done anything before so I understand why the producers were skeptical. They brought Tellefsen on because they thought I couldn't do it on my own. Dito and I did our thing though and now we have a great movie.

My favourite scene in the film is when the older Dito returns home and sees Laurie for the first time. If you were to give this scene to a film student they would probably rip it to pieces; lots of zooming, erratic camera movement and your cuts are jumping all over the place. But it works. It's really moving. How do you edit a scene like that?
That scene was actually the first scene I cut and it pretty much stayed the same from day 1. As I've said, I had never cut anything before so I didn't know any "rules". I didn't know what crossing the line meant. I still remember when Anthony Ripoli (the greatest Assistant Editor out there, and now an editor too) came to me and said, "you can't do that, you're crossing the line." I had no idea what he was talking about. I still don't really get it. If it feels right, it feels right. If it doesn't, it definitely doesn't. But back to the scene... Editing to me is all feeling. I always go to performance first. If the actors don't feel real, the scene won't feel real and then movie doesn't feel real. Dito and I are always trying to get the real emotion out there. Ask anybody that hasn't been to film school if it bothers them when the line is crossed - there will be no response. But if you ask them if they are bothered by a bad performance? I don't know if there's a person out there that isn't.

The film is obviously a very personal thing for Dito. Rather than a movie, it feels like we've accessed the Writer/Director's mind. How closely did Dito work with you in the edit? Was he there all the time or did you have time to play with the material yourself?
Dito and I are very good friends and we've worked together long enough now that we think alike when it comes to the movie making process. I usually come up with a version of a scene on my own and then we sit together and tweak it until it's perfect.

The scene when Monty collapses is extremely powerful. And looking at how it's edited it's very simple - cutting repeatedly to black, with music as the only sound. Was this in the script?
Cutting to black in the seizure scene was definitely not in the script. It actually happened by accident. I had some clips in the timeline that I knew I wanted to use but wasn't sure where so I slid them to the end and out of the way. When I was watching what I already had (up to where the first black comes in) I forgot to hit stop and the black came up, music kept playing, and then another shot appeared. I thought, wow, that's pretty cool, let's go for it. So I finished cutting the scene and played it for Dito and he was sold. I still remember the first time Shia (LeBoeuf) came by the cutting room and we played that scene for him. He literally jumped out of his chair and ran out of the room.

Because of how emotional it was?
Exactly. It was the first time he had seen anything from the film and had no idea what to expect. I think he was just blown away by all of it.

Another scene is when Dito bumps into Irish on the train as they talk about going to Coney Island -- it's one of those scenes that if I was to screen it at a film school they'd probably think I'm on drugs; it's all out of sync and seemingly random. But in the context of the film it fits perfectly. How did you come to edit it that way?
The original idea for the scene was sort of based on something we had used in 26 Moments - the first short we did. That was the dirt spot. But on set Dito wasn't feeling overly confident about the how the scene was going so he had the actors, Shia LaBeouf and Martin Compsten record the dialogue in an almost whispering voice. Just the audio - no cameras rolling. He didn't know what would come of it, but thought I would come up with something. I started with the dirt spot image and some music and then started adding the voices and any images that looked good - another scene that didn't change much at all from the first cut of it. It really came down to feeling. If it feels right, it is right.

I really like that you edit based on feeling. And it's quite telling that often your first cut of something is the one that sticks. Do you find it hard to have a fresh mind on scenes that you've been staring at in an edit for months? How do you overcome that?
At times it can be difficult but I try to take little breaks as often as possible. Even if it's just a quick walk around the block - it always helps to step away for a moment. Again, it's a feeling, so I always know if something doesn't feel right. And if that's the case... Change it.

After 'A Guide To Recognizing Your Saints' - you edited a few other projects. What were those?.
I did a documentary called Chops. It's a really great film that I hope people get to see eventually. It's about teenage jazz musicians from Jacksonville, Florida. They play in school jazz bands together and get a chance to go to the Essentially Ellington competition (an international high school jazz band competition) at Jazz at Lincoln Center in New York. Some day it will get out to the public.

And then I cut a film called Columbus Day - starring Val Kilmer. It was a fun project while it lasted. The financiers put a hold on it and I'm not sure what ever ended up happening to it. I've heard you can download it online some where.

Was it strange to be editing on your own? Did you feel prepared for it?
I've pretty much been cutting on my own since I started. Even on Saints, we were on 2 different floors of the same building - working seperately.

¿Cómo valorarías la relación laboral que mantuviste con Tellefsen? ¿Aportó mucho a la película?
Chris [Tellegsen] estuvo por allí bastante pero estábamos en plantas diferentes del mismo edificio. Dito iba de un lado para otro entre nosotros dos. Las versiones finales de todo siempre llegaban o pasaban por mi sala.

¿Y cómo trabajaste con Saar Klen en Fighting?
Saar vino para la película durante unos 6 meses durante el proceso, tras el "montaje del director". El estudio quería una visión fresca, así que Saar estuvo siete u ocho semanas echándole un vistazo al asunto. Cambiamos unas pocas cosas mientras estaba allí y después hicimos una proyección de prueba que salió muy bien. Saar se fue. 

'Fighting' is your second feature with Dito Montiel. But I'm guessing this project is was a lot different to work on compared with 'Saints.' How does the job as an editor on a low-budget feature compare with a Studio film?
The main difference is comfort. On Fighting, I was in a bigger room, with a 72 inch flat screen monitor and 2 assistants. And there are a lot more opinions on studio films - a lot more people involved who have a say in the final product - and usually with more of a business mind than an artistic mind. Everybody wants every movie they make to be seen by an audience or they wouldn't be making it. In the studio world, they decide who that audience is before the film is made. In the independent world - or at least in the arty independent world - you just hope there is an audience that enjoys your piece of art.

Do you have a preference, artistically?
Artistically, in my experience, independent films seem a little better. There just seems to be a little more freedom as an artist.

Fighting opened really well at the box office, is this something you anticipated? Also, by working on financially successful projects - is it going to be less common that you'll get to work on smaller independent films?
Dito and I always shoot for the stars so we were hoping for number 1 but we'll take a successful number 3. I just want to work on GOOD films. Independent or studio is nowhere near as important as good!

But of a random question - does the film editor have anything to do with how the trailer is cut? If not, does it bother you seeing someone else cutting your movie up?
I've never had anything to do with the trailers that have been cut for the films I've worked on. It's a very different art, and one that I really respect. After cutting a film down to an hour and a half, I have NO WAY of thinking I could turn it in to a two mintue movie. I've tried and it just doesn't work. I love seeing what they come up with though.

Have you improved as an editor?
I would say I probably have. At least I hope so. The goal is to always get better. I just never want to lose the gut instinct that I had on Saints. I think that's where the true magic comes from.

What was the toughest scene to edit in 'Fighting'?
There's one scene where Channing Tatum's character and Terrence Howard's character get in to a pretty big argument. We had a little bit of a tough time getting to escalate to the climax naturally. For a while it was feeling like it was coming out of nowhere or that it wasn't a big enough reaction. I think what we ended up with feels pretty genuine though. It definitely works in the film.

Are the actual fighting scenes difficult to work with or is it something you enjoy?
The fight scenes are great. They were a lot of fun to cut. I found out quick that the biggest thing in movie fights is the acting by the person who's getting hit, not the person throwing the punch. Most people can learn to throw a punch that looks pretty real, but it's very difficult to act like you're getting hit for real. The actors all really went for it though - no stunt men. Channing got hit quite a few times. Personally, I think they are some of the most realistic fights to ever be in a movie.

So I take it you kept a few of those real hits in?
Actually, no. I was surprised to find out that real hits don't look as good on screen as fake ones do. I was sure they would make their way in but nope - all acting - except for Evan Hailey's (played by Brian White) head against the window in the final fight. That's as real as it gets!

What is your process for editing.. do you work a certain amount of hours each day?
When I'm working I tend to get a little obsessed with the project and put everything in to it. On Saints, I probably worked close to 7 days a week from about noon to 3am. It was INSANE but we were on a Sundance deadline that couldn't be missed. I definitely like working in the middle of the night. That's when I get my best work done I think. But it's also something that can't really be forced. If it's not happening, I take a break or step away for a little while. It is an art, so if I'm not feeling in to it, I think it shows in the work.

What projects do you have coming up?
I'm working on a great film right now called Howl. It stars James Franco as Allen Ginsberg, and is being directed by Rob Epstein and Jeffrey Friedman. It's about the poem Ginsberg wrote called Howl, and the obscenity trial that was held about the poem in 1957.

Also, Dito and I have a couple of things we're trying to get off the ground. They're both scripts that Dito wrote.

Can you tell us anything about these? Is one of them 'Son Of No-One'?
Son of No One is one and Eddie & Judy (aka The Clapper) is the other. Son of No One is a thriller-drama about a cop whose past is coming back to haunt him. Eddie & Judy is a love story.

Do you have any aspirations to Direct?
None at all. I think it's definitely the hardest job in Hollywood and I don't want much to do with it. I love being on set but I don't want that job.

How about composing? are you moving away from that now?
I haven't written a piece of music since "A Sunny Stroll" for Saints. My wife and I are planning on getting a piano at home soon and once we do, I hope to start playing a lot more again.

What advice would you give to someone wanting to become an Editor, someone who perhaps doesn't have the contacts or live in L.A.?
I would say start cutting! Do whatever you can to get your foot in the door. Go to film schools (enrolled or not) and find student directors who need editors for their projects - anything. I imagine getting in to film school is great. You probably learn a ton and you also make endless connections to people that are heading in to the business. You just have to put yourself out there to anybody and everybody that you can. It's a really really hard business to get in to. I'm probably not the best example because I got lucky and sort of fell in to it.

Who was responsible for the Cat Stevens 'Trouble' montage in AGTRYS? It wasn't in the script right?
That was definitely not in the script. Dito and I both had a hand in that. We were having a hard time getting from one scene to another and just started playing around with all of the footage that wasn't being used anywhere else. On set Dito had each of the characters look at the camera and introduce themselves. He had no idea where it would be used or if it actually ever would be used. I started with Giuseppe walking in to the bathroom with the radio and originally I had a Nina Simone song there. It felt good so I started putting the kids introducing themselves and it was great but the song wasn't quite right. Dito suggested "Trouble" and there you have it.

Thank you so much for taking the time to do this, it's been really fascinating. I'd like to end with a few quick questions..
What is your favorite film?
Right now... Probably '25th Hour'.

What aspirations do you have outside of editing?
Producing. Look out for GoodForYouFilms.

How best can I convince you to cut my first feature? A great script? huge paycheck? hot female assistants?
A great script is all that matters. Great actors help too...

What has been the greatest moment of your career so far?
The awards at Sundance. Nothing has topped that yet."
 
Fuente: http://www.kidinthefrontrow.com/

23/08/2010

"Fuera de control" [Laimposible videoclip]


Dirección, guión y edición: Jota Aronak.
Música: Laimposible. http://laimposible.com/

No es de extrañar que me encante el montaje de este videoclip. Tanto su "macroestructura", como los cortes en sí.
-Jump cuts para comenzar y, al rítmo, marcar el paso del tiempo y lo que ello conlleva.
-Cuando aparecen los planos de la inconsciencia del actor, los del plató, juega con uno y otro cantante intercambiandolos, con cortes al rítmo, cambios de tamaño, superposiciones, velocidad rápida contrastando, movimientos del frame (no creo que los temblores sean de cámara).
-En el estribillo se vuelve a la realidad, en la oficina, donde vuelve a caer inconsciente. Los cortes me gustan. Sobretodo los cortes alternos que hace con el inconsciente, comenzando a dar indicios al espectador de la estructuración.
-En la segunda escena de inconsciencia, por llamarla de alguna manera, se juega de nuevo con los jump cuts, con todos los miebros del grupo esta vez. Es la primera vez que los vemos a todos.
-Sangre, drogas y sexo, no podían faltar nuestros tres colegas. ;)
-Muy guapa la postproducción.
-Cuando están descuartizando a la hembra y envolviéndola en plástico me ha gustado mucho un simple efecto que le da a un plano. Lo he dejado pasar como algo que me gustaba, sin prestarle mayor atención, las mil veces que lo he visto. Pero hoy, día que por fín me decido a subir esta entrada, decido fijarme. El plano en sí es como un flashazo, con los colores quemados y muy desaturados se queda en congelado. Este plano, con su efecto me encanta. Al hacerte parar a mirarlo te das cuenta de que el actor es la persona que está involucrada. El estar congelado y la rápida duración consigue la simbósis perfecta. Efecto de "importante".
-Me gusta como juega con el rítmo la fiesta que hay dentro de este inconsciente. Como el actor, sentado en la silla, está ajeno al ajetreo exterior.
-Final explicatorio. O por lo menos saca de dudas a los que no hubieran comprendido. Por qué elegir un plano de los compañeros de trabajo mirando algo fuera de campo, antes que el plano en el que está tirado en el suelo? Si no me equivoco, ahí ya se ha acabado la canción. Podía haber usado solo el plano del actor inconsciente, solo el de los compañeros, un plano general en el que se viera todo. Pero creo que se ha decidido por este orden para prolongar el momento de "suspense" mostrando la preocupación y la extrañeza de los compañeros, al fin y al cabo, lo mismo que siente el espectador.