Benicio Del Toro, Roger Deakins, Youtube discussed on The No Film School Podcast
To pay the whole film. Right? So it's really nice to have that engagement for it to be handed to give you ownership of that. So then how do you maybe like avoid a change in one sequence affecting the entire structure of the film? Because that's a hard balance. I feel like to maintain the editing room. Are there any tricks that you've picked up throughout your career that have been like red flags when you're making a cut that you think, okay, we'll now this is really affected the entire like Cohn of the film in a negative way. It's interesting because you have to kind of. Be prepared to have a heart stone and really drop maybe even the best sequencing film to make it work coming on know, give you a solid example on Sicario. We had the opening scene originally as written and shot was phenomenal. Seem with Benicio del Toro, torturing somebody to death and then giving him bringing back from death by giving him resuscitate resuscitation only to start interrogating him. Again, it's like such a brilliant seat and it was a heartache, but it was like the biggest effect of dropping. It was empowered. Emily's character always thought the on the great secrets of the successive Sakaria was that you had this viewpoint an outside viewpoint of somebody, moral, looking at an immoral world and discovering it piece by piece. So is very important for me that she encountered Benicio we encounter Benicio through her rather than the. Filmmakers. The hand of God chairing you've been into Alterra and saying, okay, he'll be back. Yeah, right changes the tone of the film to start with her in the back of a van about bashing into a hell yet. And it's I mean that opening sequences incredible like to watch and just, you know, throw the audience in right away. It's very, you know, with wrote to deacons at Benicio. It's really it's a tough call to sort of jettison something that's really a great scene, but you have to kind of stand back in just say, look, the effect of it going to be, how's it can impact your central character to remove it? Yeah. I mean, I had a question written down, which was had you know what to cut. Just such a broad question boy, if you could, if you have an answer to that, what would it be. Suppose the bottom. The base levity cut boring bits. I do. It's like, you know, it's it's made easy for me. I've been very blessed because the two main writers, I recently shoot very economically, you know, Steve and any you know is not sometimes three or four takes its single camera. So you know, Roger Deakins, shoot, single camera on on. Only a few times on Sakari where there would be two cameras, blade runner to only occasionally the stunt material of course, is often covered by many cameras, but for practical reasons. But it doesn't able you to kind of it's already kind of chunked down few. It's had the opposite extreme. I film for YouTube life in a day, which is four and a half thousand hours. So you know, that's a big ratio. But you know you having to find ways of chunky down and and it helps that I've only got an hour and a half material to look at every day, which means can look at everything and I can. I can respond like I almost like a first audience member and follow my hunch as to what they wanna see in how to order to show it. Are there any mistakes that you see fledgling editors make time and time again that you can. Warn our fledgling editor audience to look out for. I don't know. I think it's the temps tation. The obvious one is the people over cop and they. The sort of bashing around between cuts new, never, really. I always like giving people an opportunity to have the feel of pace, but to give people an opportunity to kind of pair into the soul of the main characters and to to, you know, I'm kind of always obsessively looking at the eyes and the dawn of is between at another actor so, and I want to kind of give that get that intensity. And that's the lot of tricks and harbor to make that happen..