Stephen, Steve Louis, ICA discussed on The No Film School Podcast


We've very, we screened, you know, one of the great benefits is he had a friend who's working the ICA and they let us use their screening room for it was very, very low budget film. It was one million euros and they spend most of that, I think on the set, right? So we. Have no luxuries. It was just me and Stephen, a small in a damp, cutting them and no assistant. And you know, I just did my own dailies at some points and. But we somebody let us have the screening room. So we shared a screening room basically with cleaners on a Friday morning, and we screened the film a lot. So we were always very keen on seeing how the thing works with an audience of friends and family originally. And that's been a key part of the process with Stephen and also Denny v. know I've worked with free fills dania. You know, it's a kind of grindstone that you you shop on your blades on so you you keep doing this. You keep screenings are a big part of your editing process. I mean, this kind of widows. For example, last night there was a joke. That means Steve thought was really hilarious. But we had three screenings where nobody really laughed. It was like a giggle. Oh, too, but we always thought it was wildly funny. I think one point I said to Steve Louis, can we just saw this Alice? Why don't we just do something. Let's do this really crass cut. Yeah, let's just be really tasteless and see if that gets laugh. And then last night it got the biggest laugh. So you know, that kind of thing, you discover chemically, I'm not so interested in what people right on the sheets. I think that's for marketing purposes, but actually the feel of film in a room. You know when you've got people and you know when you've got things your first thing for that screening, we can say, okay, I've got them gripped by this story and the leaning forward. So for people who may not be able to afford the chance to screen in front of a wider audience, is there still some value in maybe just like sitting in a room with two or three other people when watching it with them, or is that is that feeling still there? When I call to sequins during shoot, then I will cut something, oh, always always marry my assistant editors, come and sit with me and watch it, and I'm interested in what she's got to say, but I'm actually also, you know, probably hopefully not too deserves to her thoughts about it is just the process of seeing it with somebody else is a different. It's a different thing. You can feel chemically, you know when something is working, right? I mean, we, you know, I'm celebrating, I love cinema and I love the process of going to see a film with a lot of people. I remember back in whenever it was seeing total recall with a thousand people in LeicesteR square, and we're all thinking the same thought at precisely the same frame. Game, and I, I love that. That's what I'm thirsting for. Yeah. So what kind of notes do you like to receive as an editor? What are like productive notes from people who have seen the movie. Well, do you mean from Reuters off. Well, I mean, when you work with writer, the best scenario is really when they treat you like an actor. You know, not to spell out the steps, but kind of give e- throw you a challenge and see how you attend to it because we meant to have mastery of this material. I know what all the takes seen all the material and sometimes direct to saying, I wish this wasn't. This is too high blood pressure, the scene I need this just to be a little calm or Nita gentler version of that line. And then you know, you set about try and find it and solve a problem. All I need to get into the scene later. I didn't like the kind of feeling that every scene is starting with somebody coming through door. What can we do? And it's it's, you know, the smallest microcosmic part of editing is the cart and where you cut from one shot to another, but really what's happening. What I'm trying to do is think like. Think slow act forest some fingers busy doing the kind of finding the Cup, but actually also thinking about how you're structuring a sequence and at large, how you try.

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