A film editor is responsible for turning uncut footage from a film shoot into a finished, cohesive final project. Their duties include studying film scripts and using them to guide scene development, determining which camera angles to use and coordinating sound and visual effects in post-production. Film editors are a crucial part in forming meaning in the film. I will be taking inspiration from Sally Menke, who was a film editor that worked very closely with Quentin Tarantino, editing all his films until her death in 2010. She received a call saying she could edit ‘Reservoir Dogs’ and this is where their relationship began. Menke’s ‘style is to mimic, not homage, but it’s all about re-contextualising the film language to make it fresh within the new genre.’ Menke’s editing style is almost cartoonish. For example, in Kill Bill (2003/Volume 2, 2004) there is a lack of verisimilitude which creates a willing suspension of disbelief for the audience. Through the use of editing, Menke has been able to make sense of all the plots and sub plots in Tarantino’s work, they ‘developed a style of dialogue-driven, roving camera, slow-cut scenes interwoven with-fast cut action scenes’ this suggests the importance of teamwork, and how closely each specialist needs to work together.

source

https://www.independent.co.uk/news/obituaries/sally-menke-film-editor-whose-cutting-style-was-a-crucial-element-in-the-work-of-quentin-tarantino-2100864.html

editor:

Their job is to take scenes in non-story order and edit them bit-by-bit into a whole as films tend not to be shot in the order in which the story unfolds, so editors might be working on scenes from the end of the film before the beginning. During post-production, the editor and director will work closely to refine the assembly edit into a director’s cut, after that, the music and sound are added to the mix, a process that editors will oversee. Once filming starts, they look at the rushes each day, checking technical standards and the emerging sense of story and performance and editing it into a series of scenes. By the time the film wraps editors will have spent hours reworking scenes and cutting them together to create a rough assembly.

some needed editor skills:

1. Knowledge of the film industry and movie production
2. Knowledge of editing equipment and a willingness to keep up with changes in that technology
3. A good photographic eye for camera angles and special effects, as well as knowledge of audio effects
4. Ability to work alone on detailed and sometimes tedious work
5. Problem-solving skills to make film sequences work well or to work with the available footage

I am most interested in 2D animation and I am mostly taking inspiration from other 2D animators. Most specifically the work of Studio Ghibli, a Japanese animation film studio whose work includes, Spirited Away, Howl’s Moving Castle, and Ponyo. All of these films took a lot of time and people to make but I am hoping of creating some animated shorts inspired by their art style as well as the types of stories they tell. Their style is described as “whimsical and childlike” as many of their films are suited for children, and they use a variety of animation methods to create beautiful and memorable scenes.

Job description – A Film Director, or Movie Director, manages and directs all the creative elements and components of a film. Their main duties include reading and adding edits to scripts, setting the blocking for Actors and collaborating with Editors during post-production to create a visually appealing and captivating final product.- www.Indeed.com

Inspirational professional- David Fincher

The imagery in a Fincher film is grounded in realism, but it’s a dark, stylized realism. This is most notable in the director’s use of colours. Fincher is famous for his use of low-key lighting and heavy use of shadows. This combination of lighting and shadows works together nicely with his use of restricted narration. The darkness of the lighting and the cloak provided by the shadows help create the surprise that is achieved through restricted narration. Fincher focuses on the darker side of the world which carry deep themes and messages.

‘Some people go to the movies to be reminded that everything’s okay. I don’t make those kinds of movies.’-David Fincher

‘Wesley Wales Anderson (born May 1, 1969) is an American filmmaker. His films are known for their eccentricity and distinctive visual and narrative styles. Cited by some critics as a modern-day example of the work of an auteur, three of Anderson’s films – The Royal Tenenbaums, Moonrise Kingdom, and The Grand Budapest Hotel– appeared in BBC Culture’s 2016 poll of the greatest films since 2000.^[2]‘

(source – wikipedia)

‘There’s no story if there isn’t some conflict. The memorable things are usually not how pulled together everybody is. I think everybody feels lonely and trapped sometimes. I would think it’s more or less the norm.‘

(source – inspiringquotes.us)

‘The tension between mood and image in an Anderson film is a kind of treatise on outsider-ism. His perfectly arranged rooms and accoutrements always counter some sort of internal chaos. Suicide, or at the very least a resignedness to death, emerges as a major theme in nearly all of his films, including The French Dispatch.’

(source – vanityfair.com)

EXAMPLES:

Job description:

A cinematographer, also known as a Director of Photography, is in charge of the camera and the lighting crew. They’re the person responsible for creating the look, colour, lighting, and for framing of every single shot in a film. The cinematographer may also act as the camera operator on more low-budget productions.

Inspiration: Sayombhu Mukdeeprom

Working on the lush Italian-set love story Call Me by Your Name in his second collaboration with director Luca Guadagnino, cinematographer Sayombhu Mukdeeprom was met with an unusual request- to shoot the entire film with one lens.

In point of fact, Guadagnino’s ask was in keeping with Mukdeeprom’s own aesthetic interests, though he had never met a director with whom he could explore this visual idea. Taken from the filming practices of David Cronenberg, the idea was to craft a “neutral perspective,” supporting a sense of intimacy and realism while intruding as little as possible on the reality the actors were living.

Sayombhu Mukdeeprom quotes, “The producer asked me, should there be some other, wider lens? Just in case? I said ‘No, no. I want to tie my hand to this approach, because this is how I work,” the DP says. “I think if you want to limit yourself to something, you struggle inside your idea.”

Sayombhu claims that he had previously shot one movie in Italy so he knew what he would encounter in the film. He tried to figure out, technically, what were the most important things, which was that it needed a very good exposure point. He says, “When I called for a test, what I needed to do was find the right exposure for the very wide dynamic range of the scene. I had to put myself in extreme conditions to try to find the sweet spot, and that gave me confidence about everything.”

Why it inspired me:

My inspiration for my cinematography role is Sayombhu Mukdeeprom, his use simplistic cinematography. The use of shot sizes (extreme long shots, long shots and medium long shots etc) show off the beautiful scenery and transitions. The still scenes of one object or location tie in to the realistic and visual beauty to the film.

Examples:

Sayombhu Mukdeeprom manages to skilfully soften the artificial light within the frame in a way that is both mesmerizing and realistic to watch. Its filled with lucid shots of characters, that portray vulnerability and emotion.