{"id":126,"date":"2024-10-14T11:01:27","date_gmt":"2024-10-14T11:01:27","guid":{"rendered":"http:\/\/localhost\/voiceandvision\/?post_type=content&p=126"},"modified":"2025-05-07T07:38:27","modified_gmt":"2025-05-07T07:38:27","slug":"chapter-20-the-art-and-technique-of-editing","status":"publish","type":"content","link":"https:\/\/staging.routledgelearning.com\/voiceandvision\/resources\/chapter-20-the-art-and-technique-of-editing\/","title":{"rendered":"Chapter 20: The Art and Technique of Editing"},"content":{"rendered":"\n

The one piece of advice that I would impart to anybody who is looking to be an editor or any other aspect of this business is always remember that making movies is about investigating all possibilities. You should always be open to different options. If you get focused into making something one way, you may not make the best film. The thing that you learn when you\u2019re writing a film is that it\u2019s the template; it\u2019s the foundation. [\u2026] Then when you go into the editing room, that process is the next level of the template. First you have it on paper, now you have it visually and then you have to make it a film.<\/p>\n\n\n\n

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High Resolution and Color Figures<\/h2>\n\n\n\n
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These three shots (Figure 20-5), put in this order, tell us the story of Sandra, who comes home one day and discovers a burglar in her house. The film is told strictly from Sandra’s POV, and because of that, we discover the burglary at the same moment she discovers it. It’s a shock to all of us, character and audience, when that front door opens.<\/figcaption><\/figure>\n\n\n\n
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A burglar is in Sandra’s house stealing her TV! 2. Sandra drives up to her house and gets out of her car. 3. Sandra walks to the front door, opens it, and discovers the burglar.<\/figcaption><\/figure>\n\n\n\n
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LONG SHOT: A man enters the office and crosses to the desk. Looking for something, he moves stuff around the desktop, knocks a picture frame over, and then opens a drawer and pulls out a letter. He stuffs it into his pocket and leaves.<\/figcaption><\/figure>\n\n\n\n
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a. LONG SHOT: A man enters the office and crosses to a desk. Looking for something, he moves stuff around the desktop and knocks a picture frame over. b. CUT TO a MEDIUM CLOSE-UP on the drawer as he opens it, revealing a letter. c. CUT TO a CLOSE-UP of his face looking at the letter; we can see sweat forming on his anxious brow. d. We CUT back to the drawer (CU) as his trembling hand enters the frame and takes the letter out. e. CUT back to our LONG SHOT; the man stuffs the letter into his pocket and leaves.<\/figcaption><\/figure>\n\n\n\n
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a. LONG SHOT: A man enters the office and crosses to a desk. b. CUT to a MEDIUM shot as he moves stuff around the desktop, looking for something. c. CUT TO a CLOSE-UP of a framed photograph of him and a smiling woman; he carelessly knocks over the photo. d. CUT back to an OTS MEDIUM shot; as he opens the drawer, pulls out a letter, and stuffs it in his pocket. e. As he leaves the room we CUT back to the CLOSE-UP (f) of the picture frame, tipped over on its face.<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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On this page<\/strong><\/p>\n\n\n\n