The film mount can be perhaps one of the most thankless plots of this world, being, however, the feature that identifies the film for what it is. The script continues to be literature, cinematography drink both painting and photography, and belongs to staging theater. What makes such a film, however, is assembled. That choice of each of the pieces-planes-that come to the editor's room and that will eventually shape the film. Obviously, much of this form will be established both in the script and in the style of the director, but that no mistake about that: as we mount to do a movie or something completely different. I refer not only to structure. Mediocre performances have been resolved more than once in the editing room, unusable planes have gone to waste saving the name of the director, cinematographer, actor, or someone who got the micro level. Being a creative plot, it is curious that never associate a movie to your editor. Director, cinematographer perhaps sometimes screenwriter, actor forever ... but never was an editor of a magazine cover that was not specialized.
The problem is this: A good show is one that is not noticed. This, I say it here, not original, but I entirely agree. Walter Murch and Edward Dmytryk , among others, and bore witness to this in his films and manuals. And some of this know-but in my opinion Murch spends a little when he says he has to be mounted at the right time as the eye blinks, especially if there is lint in the room. It's about getting the work is fluent and in no time the viewer gets out of it. It's called suspension of disbelief (suspension of disbelief) which would consent that a person makes to suspend their critical and enjoy the work (for example, believed that the ships there to enjoy Star Wars). Without this human quality, no movies or theater would be possible, as we would come to the cinema to see, for example, The Bourne Identity, and the movie begins, we would say "this music can not be playing there in the middle of the ocean ... that's not Bourne but Matt Damon, that's not reality, it's a wall with a piece of cloth ... "and we would come out of the cinema to catch clams.
Personally, of all the theories I've read assembly, interviews, manuals, films examined, etc, I like to ride with the basic rules on the chamber axis-hop, etc-and that is the same work that is going asking mounting tempo. It is more intuitive, more feeling, but in the end you realize that it works. I think it has something to do musical intuition on this system. Michael Kahn -tuned to work well filmography-said. In the extras pack of Indiana Jones trilogy there is an interesting interview this teacher in describing how mounts, specifically the sequence of the plane of the Last Crusade. After reading the script, enter the room without preconceptions, seeing each plane, measuring the timing and thinking unconsciously when different options. Interestingly, the result ALWAYS Spielberg likes. Of course, for this you need a director you stand it.
In this article I'll talk a little about the personal experience that led Jindama mounting, with some of the problems we encountered in the assembly, how we solve some surprises that you take, and how we decided the outcome. Greetings and chilled gazpacho.
