Michael Fast, New York, Steve discussed on The No Film School Podcast
But sometimes you know, I had a really good example was I went to the university of your can I had a little master class, and I took a sequence from Shane second feature film I did with Steve and Steve gave me two shots of of. Somebody singing, you know, it's like New York, New York sung as slow ballad. Listen to by Michael fast, Benda's character, and Carrie mulligan singing this amazing song, and but I had two shots and it's four and a half minutes or whatever it is in the middle of film danger zone. There's no plot going on. There's nothing vaunting. And how do you cut these two shots? So I gave him the material and we looked at twenty versions of the thing. And of course about half of them, people like a pool of sweat, trying to cut between one line of the song end reaction to it. So Michael was. Over reacting to every other line. And then I'm in the version. I did have one very simple Cup to him and at a very specific point in the in the song where she saying is up to you New York, and she seems to be looking in his direction. I kind of made it look as it was a very direct approach to him, and his reaction was very surprising. And it's tells you off lot about the two characters that that that choice of where to cart. But actually somebody really outdid me somebody who did a version where they didn't call to Michael at all. I was really impressed. I just got we shot that. Is there any sort of platform that you recommend editors learn on first hand like to what do you use. I came up from film so I did sixty mill thirty five. Then I learnt light works, which was a brilliant platform. And then moved to avid, mostly because you know the majority of of drama job so caught on avid is just a stand gold standard, and it's very robust is particularly, you've got five or six cutting rooms all looking at the same material, and you know it's an industry standard. I, I've not worked on the other platforms and I haven't had too, but it, you know, if it's wet string, it doesn't really matter does it was shot on wet string and if it's a good story. That it's not really the the method is is the story from me. So in the same vein, as the question about, you know, fledgling editors making a mistake, are there a lot of mistakes or is there any sort of mistake that you see time in time? Again, with fledgling directors, that one Pershing them in depose production process? It's hard because you've worked with such incredible directors. I really lucky. Yeah, I didn't know. I think one of the problems. Onto that Tanjile which is on the problems are have television. I did a lot of television were again, I wanted to move out of it. And one of the big reasons was people don't test the films that nobody who hasn't sat and watched the dailies or written the script or produced. It is looking at your cart and there's no naive audience. If you like to watch it and few to measure it success. And I can remember the frustration of that because you know, sometimes in the process you're pushed to be things along, and then we're going to get that then not gonna get a rival, you know, we had a phenomenal. Friends and family screenings from five or six people, and that was really instructive, especially with the film that has a big twist, knowing when did somebody get that we wanted it to be fully God so that you feel something at the end of the film and without really knowing where you are in that story, that ending isn't as emotional as it should be. So you know, we learned a lot from hearing people. We'd just invited to them to come along and bring their baseball bats. Tell us what they thought. You know, the young directors and I just see the great work all the time. I can't see negative. So I just see a lot of kind of new voices and interesting ways of doing things that aren't, you know. I learned from it. Seems that one thing that you did mention earlier in in this interview was that you respected mcqueen's ability to sort of let go of some of the things that he may have shot and.