The letter ‘f’ following a page number refers to an illustration; the letter ‘n’ refers to a note.
abstract movement 39
action films: case studies of event rhythm 151–60; plots of 139; rhythms 137–8; use of mixed motion speeds 218
action shots 56, 94, 95; use of collision 171
actions: actors’ 121–3; changes in 124, 125; goals and 123; in parallel action 198, 200–1, 206, 207, 219; prolonging 212, 213
Adair, Sandra 143
Adele 60f
affect (see also feelings) 72, 76
Allen, Dede 218
Allen, Jadzea 34f
Allen, Richard J. 89f, 101, 102, 110, 242f, 243f, 246f
Allen, Woody 125
Altman, Robert 58f
American Beauty 27f
Anderberg, Kim 244f
Anderson, Wes 43f
animated films 240
Annie Hall 150
Apocalypse Now, case study in style 177–9
Arcel, Nikolaj 90f
architecture, as metaphor for editing 136, 137, 147–8
Arnaud, François 205f
Aronofsky, Darren 182
Astaire, Fred 100f
Astruc, Alexandre, 246n
asymmetry 42
‘attractions’ 32
Australian Screen Editors Guild awards 92
authenticity 116
awareness of rhythms 16–18, 27
Baraka 164
Bartenieff, Irmgard 61
Barthes, Roland 22
Bennett, Sara 146
Berdan, Brian 187
Beresford, Bruce 179
Birdman 38f
Biro, Yvette 224
Blade Runner 26f
Blanchett, Cate 226
blinks/blinking 24, 25, 26f, 79, 114, 122, 125
body 6, 7: corporeal imagination 18–19; reactions to tension 72, 73, 75f, 77; rhythms of 6, 22, 24, 75–6, 82, 86, 132
Bonnie and Clyde 218
Bordwell, David 4, 43f, 55, 67n, 141
The Borgias, case study of parallel action 203–6
Boyhood 143
Boyle, Peter 127, 128f, 130, 131, 133f, 134
Bracco, Lorraine 158
Breaker Morant, case study in style 179–82
breath rhythm 25
Bretherton, David
Bridges, William 143
Broadcast News, case study in tension 77–85
Brooks, Albert 77
Brown, Sam 60f
Burstyn, Ellen 183
Butler, Bill 46f
Butler, David 74f
Cabaret 64f
Caché 143
Cambern, Donn 9
Canalese, Emma 102
Caro, Niki 44f
case studies: emotional rhythm 126–34; event rhythm 151–60; fast motion 215–17; onscreen drafting 240–6; parallel action 195–208; physical rhythm 102–12; slow motion 210–14; style 174–84; tension and release 77–84
Castle-Hughes, Keisha 44f
Caught in the Draft 74f
cause-and-effect relationships 140, 146, 151; throwing energy and 119, 123, 124, 125, 135
Chalmers, D. 222
change 89, 91, 169; in actions 124, 125, 151; rate of 57–60; as result of collision 169
Chariots of Fire, slow motion case study 210–12
chase scenes 95, 112; use of collision 171
Chicago 100f
choreography 2, 30, 33–4; movement phrasing 36–42
Citizen Kane 168
Clark, A. 222
Claxton, Guy 11
Clemenson, Christian 78, 81f, 83f
A Clockwork Orange 46f
Clooney, George 137
collaboration 51, 221–2, 224, 234; with directors 223–6, 226–7, 228–9f, 233
Collette, Toni 126–7, 128f, 130, 134
collision 63, 163, 169–71, 174; case studies 175–7, 182–4; continuity cutting and 172–3, 175–6; Eisenstein’s use of 63, 169, 170, 171; linkage and 163, 173, 174; and thematic montage 171, 182–4
Colour Box 96f
compass point edits 43f
complementarity 222
composing 31
continuity cutting 63, 106, 165, 172; case studies 175–7, 179–82; collision and 172–3, 175–7; in contemporary style 185; linkage and 173, 174, 179–82; spectrum to thematic montage 166–9, 185
continuity errors 122
Coppola, Francis Ford 177, 199
Corsitto, Salvatore 152
Corwin, Hank 187
Court, David 227
crafting 42
creativity 13, 94, 220, 223; collaborative 227; generative/interpretive 226–7; and onscreen drafts 239, 240; responsive 225–6; rhythmic 6–7
Curtiz, Michael 167
cuts/cutting (see also continuity cutting) 52f, 79, 131, 195–6; of emotional rhythms 115–16, 117, 128–9, 132; to form phrases 40f, 41f; jump 184–5, 186; match 63, 173; and movement 98, 122, 125; performance guiding 114; rate of 55–6; smooth 63; timing of 155, 201, 203; traditional 147
Cocteau, Jean 185
Cuarón, Alfonso 137
Daldry, Stephen 126
dance 95, 98, 100f, 102, 171; editing 102–11
dance movements, phrases of 46
dancing edits 98–100, 101; case study 108–10
Dancyger, Ken 185; The Technique of Film and Video Editing 4
Davis, Geena 215f
decision making 223, 224–5, 232; embodied 239–40; onscreen drafts 237
Decugis Cecile 185
devices 218–19; definition of 189; fast motion 214–17; mixed motions 217–18; parallel action 190–208; slow motion 208–14
Dickens, Charles 190
difference 171
directors 38, 46, 221–2, 223, 224–5, 226, 232; collaboration with 222, 223–6, 228–9f, 233; and editing style 162
discontinuous continuity 185
documentaries 149–50; cutting movement energy 65
Donen, Stanley 216
The Doors 178
Down Time Jaz 118f
drafts (see also onscreen drafts) 236–7
duration of shots 53, 54, 117–18
editing thinking 232–3, 234; case study 240–6; practical exercise 233
effort 61
Eisenstein, Sergei 6, 31, 32, 33, 39, 48n, 120, 190; on collision 63, 169, 170, 171; and rhythmic montage 33, 39
ellipsis 139–40, 215; temporal 166–8
embodied simulation 70–1, 85, 232
emotion/s (see also kinaesthetic empathy) 72, 93, 212; and action, in parallel action 198, 200–1, 206, 219; experiencing 212; flow of 94; heightening 208; and slow motion 208, 212–13
emotional energy 119–20, 152; slow motion and 214; throwing 122, 124, 125, 129, 130, 132, 161, 180
emotional movement (see also emotional energy) 135, 151, 222–3; and intuition 40–1; and pacing 58; of performers 114; and physical movement 88–9
emotional rhythm 88–9, 91, 115–20, 130–2, 135, 180; beats 124–5; case study 126–34; prepare, action, rest 120–1; shaping of 116–20, 124–5; tension created through 130, 152, 161
empathy (see also kinaesthetic empathy) 18–19; movement and 18–22
emphasis 35, 36, 145, 208, 219; by duration 208; by repetition 54; by stress 65, 208, 210–14
energy (see also emotional energy) 15, 47, 61, 98, 155; and collision/linkage 171, 174; continuity cutting and 165, 167, 168; in dance 109; and effort 61; expressing intention 61–2; manipulation of 60–1, 63, 65, 66; and pace and timing 145–7, 152; pulses and 36; and stress 65–6; throwing 117–20, 122, 123, 125, 132, 180
The English Patient 64f
Erin Brokovich 186
event rhythms 136, 161; case studies 151–60; energy, pace and timing 145–7; real vs fictional events 149–51; reintegrating rhythms 150–1; shaping 146–7, 149, 151, 152; structures and 136–7, 142–5, 147–8
expectations 68–9, 137–8, 194, 207
The Eye is Quicker 31
Farina, Dennis 206f
fast motion 214–16; case studies 216–18; function of 215, 217; and mixed motion 217–18
feeling (exercise) 35
feelings 41–2, 71, 72; experiencing 212; perception of 18
fiction, foundational structures 149–50
Fiennes, Ralph 64f
fight scenes 95, 97f, 98, 99f, 112; use of collision 171
Fildes, Simon 40f
Film Art (Thompson) 4
Film Editing: History, Theory and Practice (Fairservice) 4, 192
Finney, Albert 217
First and Final Frames (Swinney) 139
First Cut, Conversations with Film Editors (Oldham) 9, 16
first scenes 137–9, 177–8; The Godfather 151–2, 154; setting expectations 137–9; Strangers on a Train 193–4
The Fog of War 144
Ford, Harrison 26f
Fosse, Bob 64f
Fraleigh, Sandra Horton 62
frames/framing 43, 45; exclusion/inclusion 196; trimming 117
Frost/Nixon 41f
Gallese, Vittorio 70
Gallipoli, parallel action case study 195–8
Germano, Ivan 247f
Gianetti, Louis 169
Gibson, Ross 25
Girard, François 144
goals and actions (exercise) 123
Goddard, Jean-Luc 184
The Godfather: baptism scene 154–5, 199–200; event rhythm case study 151–5; first scene 152, 154; parallel action case study 199–203
Goodfellas, event rhythm case study 155–60
Gosford Park 58f
Graham, Marcus 243f
Grainger, Holliday 205f
The Grand Budapest Hotel 43
Grant, Cary 59f
The Great Train Robbery, parallel action case study 192–3
Greenfield, Amy 109
Grey, Joel 64f
Griffith, D.W. 190
Grodal, Torben K. 72
The Grove Dictionary of Music and Musicians 55, 65–6
Guerra, M. 70
Hanely, Daniel P. 41f
Hanneke, Michael 143
Hawks, Howard 59f
Heim, Alan 9
Hepburn, Audrey 217
Herlings, Terri 108f
Herrmann, Bernard 176
Hill, Mike 41f
Hirsch, Paul 9
His Girl Friday 59f
Hiscock, Michelle 237
Hitchcock, Alfred 75, 219n; Notorious 70; Psycho 75f, 175, 176; Strangers on a Train 194, 196
Holy Motors 145f
Hope, Bob 74f
The Hours, case study in emotional rhythm 126–34
House of Cards 141f
Howard, Ron 41f
Hudson, Hugh 210
Humphrey, Doris, The Art of making dances 42, 45–6
Hunter, Holly 77, 78f, 79, 80f, 82
Iñárritu, Alejandro G. 38f, 186
Incendies 43f
incongruity 170
initiating rhythms 32
intention 20, 61–2, 121; mirroring 21 pulses and 36
intuition 9–10, 28, 40–1, 50–1, 223, 229; components of 11–14; instinct vs 10; from knowledge 50, 86; movement and 14–15, 18–22; rhythmic 16–18, 22, 24–5
Irons, Jeremy 205f
Island Home Country 65f
Jackson, Peter 97f
James Bond 137
Jarmusch, Jim 168
Johnson, Bill 140f
Jones, James Earl 69f
Jones, Vinnie 206f
juxtapositions 143–4, 224; and collision 170–1; in continuity cutting 172; of dance movements 46; and dancing edits 108; montage as 164; and movement phrases 36, 37; trajectory phasing of 106
Kahn, Sheldon 9
kinaesthetic antipathy 148
kinaesthetic empathy 7, 15, 18–20, 26–7, 82, 86; and emotional movement 127; fast motion and 216; physical rhythm and 91; slow motion and 208, 209, 210–11, 212
Komatsu, Robert 41f
En Kongelig Affaere 90f
Koyaanisqatsi 164
Kress, Carl 9
Laban, Rudolf 61
Lamour, Dorothy 74f
Langella, Frank 41f
Lavant, Denis 145f
Lees, James 143
Leigh, Mike 236
Levin, Sidney 9
Lewis, Juliet 186
linkage 63, 64f, 65, 163, 172; case studies 177–9 179–82; collision and 174; and continuity cutting 173, 174, 179–82; thematic montage and 177–9
Linklater, Richard 143
Liotta, Ray 156
Lord of the Rings 97f
Luhrmann, Baz 216
Lye, Len 96f
Lynch, David 149
Mad Men 168
Marosszeky, Michi 247f
Marshall, Rob 100f
Martino, Al 154f
Matewan 69f
McPherson, Katrina 40f
Melancholia 209f
memory, corporeal 21
Metz, Christian 207
Meyerhold, Vsevolod 120
Millar, Gavin 4
Mills, Jane 186
Mingella, Anthony 64f
mirror neurons 7, 15, 20–2, 29n, 70, 85, 222; activation of 26–7; and collaboration 222; and editing thinking 232; and embodied simulation 70–1, 85; explanation of 20, 221; and imitation 24–5
mirroring intentions (exercise) 21
Molloy, Simon 227
montage see thematic montage
Moore, Julianne 126, 127, 128f
movement (see also emotional movement; physical movement): abstract 39; as emotional content 41; empathy with 18–20; flow of 94; intentional 20–1, 61; and intuition 14–15; shaping 94
movement phrases 36–47; action as 122; phrasing considerations 42–7; redesigning 97
Mullholland Drive 149
multi-strand narratives 144
Munn, Mike 73
Murch, Walter 24, 28, 64f, 113n, 114, 122
murderer in the dark (exercise) 74
music 16, 31, 160; comparisons with editing 31–5, 47–8; composing 31; conducting 32–3; orchestration 31–2; and physical rhythm 112; use of 178, 182, 201, 214
The Navigator, slow motion case study 212–13
Newsfront 228f
A Night at the Opera 57f
No Surrender 89f
Noyce, Phillip 228f
onscreen drafts 231, 233–6; case study 241–6; embodied decision-making 239–40
Orlando 144
pace, energy and timing 145–7, 152
pacing 4, 32, 55–60, 112; fast 58–9; rate of change within a shot 56–7; rate of cutting 55–6; rate of overall change 57–60; slowing of 49
Pankow, Bill 9
parallel action 190–1, 218; case studies 195–208; exercises 191, 194, 195, 199, 204; and time pressure 196–8
Pater, Walter 32
Patten, Jardine 242f
Pearlman, Karen 118f, 241, 243–6
Penn, Arthur 28
performance 114, 115; shaping 146; uses of time 165
perspective 245
Pesci, Joe 158
phenomenology 29n
physical movement 58, 94, 96, 151, 158
physical rhythm 88, 91, 95, 171; case studies 102–12; dancing edits 98–100, 101, 108–9; music, sound and 112; rechoreographing 96–7, 101, 106–7; singing the rhythm 100–1, 110; storytelling 98, 101, 105
physical storytelling 98, 101; case study 105–6, 108, 110
physiological responses 19, 82, 86, 214
physiological rhythms 6, 22, 75, 76
Pileggi, Nicholas 155
Plummer, Amanda 23f
Pockets 143
Polley, Sarah 73f
Porter, Elliot 192
portrait structure 144
power, editors’/directors’ 226–8
‘preparation, action, recovery’ 120–1, 134, 135
Psycho 75f; case study in style 175–7
Pudovkin, Vsevolod 140–1, 163, 172
Pulp Fiction 23f
Raging Bull 99f
Rains, Claude 70
Ramachandran, V.S. 20
Rawlings, Terry 210
rechoreographing 96–7, 101; in case study 106–8
Reggio, Godfrey 164
repetition: emphasis by 54; of setups 180
Requiem for a Dream, case study in style 182–4
Ridgway, Linda 108f
Roberts, Julia 186
Romeo and Juliet, fast motion case study 216–17
Rosenblum, Ralph 150
Roth, Tim 23f
Russell, Rosalind 59f
Sarandon, Susan 215f
Scott, John 213
Selkirk, Jamie 97f
sensitivity 13, 18, 94, 222–3; heightened 222–4, 234; to movement 232, 233, 234
Sheen, Martin 177
Sheen, Michael 41f
Shire, Talia 154f
shots 43, 44–5, 46; duration of 53, 66, 117, 141, 180; placement of 53–4; sequences of 36–9; uses of space 165; which, where and how long 116–19
Simon, Paul 207
slow fade 214
slow motion 208–9; case studies 210–14; emphasis through stress achieved through 208; fast motion and 214–15; function of 208, 210, 212, 214
Snatch, parallel action case study 206–8
Soderbergh, Steven 186
Sokolowski, Robert 29n
Sorkin, Aaron 140f
space 45, 165, 168, 207; and energy and time 48, 62
Spacey, Kevin 141f
speed ramping 218
stage spaces 45
Stories we Tell 73f
Stranger than Paradise 168
Strangers on a Train, parallel action case study 193–6
structure/s 94, 136–7, 220; and dramatic questions 139–42; and event rhythms 136–7, 142–5, 147–8; mathematical 144; musical 144; portrait 144
style 162–3, 187–8; case studies 174–84; collision and linkage 169–73; contemporary 184–7; symmetry/asymmetry and 42; thematic montage and continuity cutting 163–9, 173
subjectivity, jump cuts and 185–6
Sutton, John 222
Swinney, J.T. 139
symmetry 42
synchronization 75–7, 79, 82, 85; case study in 77–85; with directors 228–9; social 76
Tarantino, Quentin 23f
Tarkovsky, Andrey 15–16, 32, 35, 39
tension 130, 158, 212; time pressure and 80–1, 196–8
tension and release 68, 74–5, 85; case study in 76–85; dramatic questions and 139, 152; in emotion 70–1; in events 68–70; in image and sound 71–3; parallel action and 190–1, 195–6
Thelma and Louise, case study in slow motion 213–14, 215f
There is a Place 40f
Thin Blue Line 115f
thinking 6, 7, 222; editing 232–3, 240–6; intuitive 11–14; rhythmically 22–8
Thompson, Jack 181f
Thornley, Jeni 65f
throwing the energy (exercise) 119–20
time 15, 34, 174, 224; cutting and 39, 165;manipulation of 207; pressure of 33, 35, 80–1, 196–8; resistance of 208–9; shaping movement of 98; in slow motion 208–9
time, space and energy (exercise) 48, 62
timing 4, 32, 51–4, 139, 155, 180, 182, 203; choosing duration of a shot 51–2; choosing a frame 51–2; choosing placement of a shot 53–4; energy, pace and 145–7, 152; of events 139; shaping 112
Tiomkin, Dimitri 194
trajectory phasing 60–6, 120–1; colliding trajectories 63; of juxtapositions 106; linking trajectories 60, 63; movement energy trajectories 34, 63–5, 100–1, 106; selecting energy trajectories 63, 64; and stress 65–6
transference of interest 140–1
Trier, Lars von 209f
Two for the Road, fast motion case study 217
universal rhythms 15
Venora, Diane 216
Vikander, Alicia 90f
Villeneuve, Denis 43f
Walong, Bernadette 89f
Walsh, Martin 100f
Ward, Vincent 213
Weiner, Matthew 168
The West Wing 140f
Whale Rider 44f
Williman, Bean 141f
Willis, Bruce 91f
Wiseman, Len 91f
Woman with an Editing Bench, case study in onscreen drafts 241–6
Wood, Sam 57f
Woodward, Edward 181f
Worth, Merle 9
Yezerski, Michael 110
Young, Sean 26f
Zeigler, William H. 193, 194, 196f
Zinner, Peter 155