In this accessible and informative text, Michael R. Miller draws on his extensive experience working on award-winning films, to help readers develop their ‘eye’ for editing.
The book begins by emphasizing the need for editors to pay attention to the emotional and aesthetic tone of a project and scene, before it explores what makes great editing in a feature film. This includes editing approaches founded on deep appreciation for actors’ performances and directors’ philosophies, trimming or even deleting footage that weighs down the narrative, refining character point of view, the importance of opening scenes, the role of sound, and much more. Throughout the text, the Miller draws on insights from editors such as Paul Hirsch, ACE, Susan E. Morse, ACE and Thelma Schoonmaker, ACE to provide readers with a deep understanding of how and why “movies are made in the cutting room”.
This is a perfect resource for intermediate and advanced editing students, as well as professional editors hoping to improve their craft and learn from the masters. Miller’s emphasis on what editors feel while watching dailies, his focus on performance quality, his assertions that, paradoxically, a picture might be improved when a great scene, or even a considerable number are deleted – will be eye-opening for one and all.
In this accessible and informative text, Michael R. Miller draws on his extensive experience working on award-winning films, to help readers develop their ‘eye’ for editing.
Arvustused
Wonderful! Filled with practical wisdom and erudition but with feet still planted firmly on the ground. The real deal.
- Julio Perez IV, ACE (Editor, Euphoria)
"Along with his calm and nuanced approach, Michael brings a deep understanding of the history of film. So, if you're interested in editing, film making or simply passionate about cinema, this is the book for you."
- Paul Dinello, Director, Strangers With Candy. Supervising Producer, The Late Show with Stephen Colbert
Since 1987 there hasn't been a single project Ive edited that wasnt informed by Michael Millers groundbreaking editing. From the pitch perfect comedy timing of Raising Arizona to the sardonic pacing of Ghost World to the intense drama of Millers Crossing (no relation) Michaels timing is what I aspire to." - John Venzon, ACE (South Park - Bigger, Longer & Uncut, Storks, The Lego Batman Movie & The Bad Guys)
Acknowledgements
1 Introduction: Why Editing Now Requires Formal Training
2 Choosing the Best Moment: What Moves You?
3 The Primacy of Performance: Authentic Acting Is the North Star
4 Editing as a Foundation of Rhythm and Pace: A New Beacon
5 Other Editing Concepts: Transitions, Parallel Construction, the Axis,
Motivated Cuts, Intercutting, etc.: Pudovkin, Eisenstein and All the Usual
Suspects
6 Character Point of View and How to Create It: Whos Telling This Story?
7 The Importance of Opening Scenes: And Why Theyre Assembled Toward the End
of Post
8 The Many Roles of Music: Score, Source, Scource and Much, Much More
9 The Role of Sound: Developing the Editors Ear
10 Editing as the Final Rewrite: The First Assembly is the First Draft
11 Breaking the Rules: Thats What Theyre Made For Until They Become the
New Ones
12 Conclusion
Appendix: Suggested Film Clips to Supplement the Text
Index
Michael R. Miller has had a dream career in film editing. After graduating from Cornell University, he landed the plum job of assistant to editor Susan E. Morse, ACE. He worked in the same capacity for Thelma Schoonmaker, ACE on Martin Scorseses Raging Bull. Subsequently Mr. Miller became a sound editor on Joel and Ethan Coens Blood Simple and went on to collaborate with "the boys" as editor of Raising Arizona and Millers Crossing. His many other cutting credits include Terry Zwygoffs Ghost World, Keenen Wayans Im Gonna Git You, Sucka, Herbert Ross Boys on the Side, Thomas Carters Swing Kids, Paul Dinellos Strangers With Candy (starring Dinello, Stephen Colbert and Amy Sedaris), Michael Bays Armageddon, Rupert Wainwrights Stigmata, Jesse Terreros Soul Plane, and Anthony Hopkins Slipstream. He also edited Josh Radnors happythankyoumoreplease, winner of the 2010 Sundance Film Festival Audience Award, Mr. Radnor's well-reviewed Liberal Arts, which premiered at Sundance in 2012, and Maya Forbes' Infinitely Polar Bear, which screened there in 2014. In all, hes edited eight official Sundance Selections. Mr. Miller also edited Angus MacLaughlins Abundant Acreage Available, which won Best Original Screenplay at the 2017 Tribeca Film Festival. He is currently Professor of filmmaking at the University of North Carolina School of the Arts, where he served as Editing Department chair for eight years.
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