dramatic irony, 88, 89, 122-124, 146, 187
driving force, 148
Duras, Marguerite, 154
duration. See time
Dusty Film Festival, 122
DVD, 210
E
Echoes, 202, 203
editorial sync, 201. See also printer’s sync
Einstein, Albert, 100, 108-110
Eisenstein, Sergei, 27, 28, 48, 140, 154, 230
emotional attachments, 65, 113
emotional time/duration, 36, 37, 105. See also time/duration; structuring time
episodic, 218, 224
Europea de Cinema de Barcelona, 135
exposition, 86, 92, 157, 158, 217
extended cut, 9-11, 14. See also overlapping action; protracted action
F
false value, 146
Fargo, 86, 87, 145-147
FBI, 102, 186
Film Comment, xviii
film lab, 144. See also lab
Final Cut Pro (FCP), 217, 228. See also Avid; Computer; Digital Technology; and Lightworks
first names, 157, 158
Flatbed, 34. See also Steenbeek
formal balance, 183
400 Blows, The, 70, 105
focal point, 10-11, 15,16, 18-21, 23, 31, 126, 198, 209
frames, 14-16, 18, 21, 23, 26, 28, 29, 31, 36, 37, 55, 68, 83, 196, 103, 104, 108, 125, 126, 136, 164, 197, 200, 201, 209
French Connection, The, 21, 55, 56, 63, 74, 75, 77, 167, 184
Funahashi, Atsushi, 203
G
Gangs of New York, xvii
genetics, 182, 209
George, Chief Dan, 19, 20, 21
Godard, Jean-Luc, 81
Graham, Chris, 84
Guidi, Chris, 29
H
Harbeke, Sabine, 188, 189
Hicks, Shawn, 29
Hirsch, Paul, 220
Hirsch, Tina, 227
Hoffman, Dustin, 19
Howdy Doody Show, 122
Huston, John, 14-15
I
image(s), 59, 74, 95, 97, 111, 139, 145, 154, 155, 157, 160, 164, 198, 200-202, 208, 209, 230, 231. See also juxtaposed images
imbalanced blur, 8. See also blur
improvising, 211
inflection, 2, 44, 145, 146, 165, 178, 222, 224
insert. See cut away
insights, 89
inspired, 182, 214
instincts, xiii
integrity, 6, 130, 168
interlock screening, 201
interpreter, 230
In The Blink Of An Eye: A Perspective On Film Editing, 34. See also Murch, Walter
intuition, 122, 209, 229
intercutting, 66, 68, 70, 71, 97, 159, 160, 187
interruption, 165, 176, 177
integrating, 38, 44, 60, 94,150,151,166,183-186,191, 218. See also beats; codes
invisible cut, 6, 12
Iris, 78
J
Jack Murphy, 28-30
Jefferson, Thomas, 158
jigsaw puzzle, 127, 144
Joe Gould’s Secret, 95, 96
John, Elton, 49
juxtaposed images, 4, 23, 29, 48-50, 55, 57, 66, 70, 71, 74, 83, 102, 154, 166, 194, 202, 208, 212. See also images
Joubert, Joseph, 91
Joy Luck Club, The, 156,158
June, 188-190, 194, 199, 200, 217, 218
K
Keillor, Garrison, 83
Kennedy Airport, 36
Kelleran, John, 53
key elements, 90, 93
Kierkegaard, Søren, 76
know-how, xiii, xv
Kress, Harold, 129
Kubrick, Stanley, 122
L
lab, 144. See also film lab
labeling, 45, 194, 201
Laurel Canyon, 79
Law & Order, 162, 163, 183, 184
laziness, 220
Leaving Las Vegas, 174, 176
Lee, Fanny, 53
lens 209
life-affirming, 204
Life Before Me, 83, 84, 157
Lightworks, 229. See also Avid; computer; digital technology; Final Cut Pro
limerick, 184, 185
Lindgren, Ernest, 25
Lionnet, Leonard, 208
literary form, 155
literature, 154
Little Big Man, 9, 19, 20, 22
Littenberg, Susan, xvii
Littleton, Carol, 65
LoBrutto, Vincent, 165. See also Selected Takes: Editors On Editing
Logan Airport, 222
Loneliness Of The Long Distance Runner, The, 97, 169
Lottman, Evan, 215
Lumet, Sidney, 208, 209, 212, 217
M
Madison Avenue, 50, 228
magic, 3, 4, 28, 108, 171, 211
Mamet, David, 48, 83, 172. See also On Directing Film
Marseilles, 74
matching, 14, 15, 17-20, 22-24, 26, 27, 35, 38, 69, 196, 200, 209
McKay, Craig, 122
metronome, 214
Midnight Family Dinner, 177-179, 204
mindful response, 8, 10, 68
Mingus, Charlie, xv
monologues, 160
montage, 48, 49, 93, 140, 154
MOS. See silent picture
Moviola, 34, 136
MTV, 3
Murch, Walter, 34, 70, 182, 191, 217. See also In The Blink Of An Eye: A Perspective On Film Editing
Music, 66, 202, 207-209, 224
Musical Eye, The: A Guide To Music For Filmmakers, 208. See also Lionnet, Leonard
N
narration, 66, 154, 157, 158. See also voiceover
National Geographic, 50
New York City, 92, 102, 173, 178, 216, 222
New York Daily News, 3
Nilsson, Rob, 171
non-destructive, 228
nonlinear, xv, 229
Novocaine, 158
novel, 154
Nowhere, Now Here, 17, 212, 213
0
observation, 167
On Directing Film, 48, 83. See also Mamet, David
180 degree rule, 100, 110, 111, 113-116, 120, 126
On Film Editing, xiii, 28, 48, 93. See also Dmytryk, Ed
Old And The New, The, 28, 140, 230
Olivé-Bellês, Nûria, 17, 135, 136
optical effects, 40, 229, 230
optical house, 144
O’Steen, Sam, xiv, 13, 83
outtakes, 135, 141, 213
overlapping action, 26-28. See also extended cut; protracted action
P
pacing, 2, 68, 160, 196, 208, 209
Painter, The, 52-55
Pajari, Sako, 17
parallel editing, 66, 67, 74, 77-79
participation, 167
Pascali’s Island, 30, 39, 40, 61-63, 174
Pater, Walter, 207
performance, 45, 160, 164, 168, 178, 194, 196, 203, 225, 231. See also acting
phrases, 158, 178, 197, 198
physical action, 58, 60, 115, 116, 167, 182-185, 190, 191, 210
physical life, 115, 116, 167, 182, 185, 190, 191
pictured words, 104
place, 49, 74, 76, 77, 93-97, 111, 158, 182, 190, 194
presentation, 83, 87, 88, 105, 113, 114, 120, 149, 231
printer’s sync, 201. See also editorial sync
production designer, 230
projector, 201, 202, 208
proscenium, 120
protagonist, 17, 18, 77, 79, 93
protracted action, 26, 30. See also extended cut; overlapping action
Pudovkin, V.l., 5, 154
Q
questions, 87, 130, 163, 172-177, 179, 204, 209, 212, 213, 218, 220, 228, 229
R
radio, 154
reactions, 37, 38, 150, 160-162, 167-169, 176, 177, 179, 191, 194, 198, 204. See also double reactions
real-life associations, 37, 134, 157, 194, 202
real world experiences, 130
Reds, 211
re
dundancy, 155, 165, 186-188, 190, 218
Reed, Jack, 211
Rembrandt, 216
rhythm, 23, 35, 36, 45, 104, 135, 147, 160, 165, 172, 177, 179, 196, 203, 208-214,
roomtone, 29. See also silence; ambient sound
Rosemary’s Baby, 38, 39, 137-140
rough cut, 66, 166
rushes. See dailies
S
Schoonmaker, Thelma, xvii
School of Visual Arts (SVA), xiv, 2, 122, 135, 162, 188, 202, 228
Scorsese, Martin, xvii
screenplay, 35, 56, 90, 92, 93, 97, 100, 103, 106-108, 135, 144, 148, 149
screenwriter. See screenplay
script, 84, 92, 108, 134, 135, 139, 158, 212
Sculpting In Time, 34. See also Tarkovsky
segue, 211
Selected Takes: Editors On Editing, 165. See also Lobrutto, Vincent
selected takes, 34, 45, 66, 67
sequence, 14, 39, 41, 42, 90, 100, 108, 122, 130, 132, 156, 172, 174, 190, 191, 194, 202, 208, 209, 217, 218, 221-225
Serpico, 22, 23, 68, 69, 84-86, 161, 173, 194-196
set-ups, 14, 15, 19, 28, 57, 58, 100, 112, 164, 179
sex, lies, and videotape, 76
Shaw, George Bernard, 121
Shimokawa, Akira, 178
shutter, 201, 202
Sight & Sound, xvii
silence, 29. See also ambient sound; roomtone
silent film era, 208
silent picture (MOS) 66, 67, 71, 141, 160, 166
Singer, Isaac Bashevis, 47
sound effects, 66, 88, 95, 104, 154, 164-167, 197, 198, 200-202, 204, 205, 214, 224
sour note, 210
Spitfire Grill, The, 158
Stanislavsky, Konstantin, 35
Stein, Gertrude, 174, 179, 210
Stern, Isaac, xiv
Steenbeck, 34, 228
Stoppard, Tom, 88
story, 49, 76, 79, 82, 86, 90, 93-97, 102, 123, 130, 132, 136, 140, 144, 154, 155, 157, 176, 182, 186, 190
storyshowing. See storytelling
storytelling, 2, 12, 76, 82-84, 87, 88, 92, 93, 95, 100, 103-105, 123, 130, 154, 155, 173, 214
Straight Story, 95, 96
Strike, 27, 28, 79
structure, 2, 26-31, 108, 130, 133, 135, 176, 194, 208, 218, 219, 222;
perceptible/imperceptible 26-31;
protracted action, 26, 30;
structuring time, 104. See also time/duration; emotional time/duration
students, 4, 15, 28, 50, 51, 53, 66, 67, 83, 90, 100, 105, 110, 113, 130, 135, 136, 177, 188, 189, 194, 210, 211, 220, 228
subtext, 44, 45, 147, 166, 169, 172, 177, 179, 209, 210, 212-214
subtitle, 156
Sullivan, Ed, 3-4
Sweet Hereafter, The, 77, 78, 125, 159
symphonies, 208
synchronized sound, 2, 22, 66, 69, 135, 136, 164-166, 183, 194-202, 204, 208, 211, 214
T
tape, 210. See also VHS
Tarkovsky, Andrei, 34, 225
Taubin, Amy, xviii
Taxi Driver, xviii
teaching, xiii, xiv, xv, xvii, 35, 66, 82, 91, 92, 136, 144, 228, 231
television, 3, 50, 230
tempo, 208, 209
terminology, 92
Texaco Star Theatre, 3
theatre, 37, 38, 92, 120, 149, 150, 154, 160, 178, 185, 196, 201, 208, 225
theory, xv, xvii, 22, 124, 182, 208
three dimensions, 10, 100, 111, 113, 114, 120
time, 33, 36-38, 41, 76-79, 95, 96, 100-102, 106, 108, 150, 158, 174, 194, 209, 224, 229, 231. See also emotional time/duration; structuring time
time left out, 103
timeline, 229
titles, 66, 104, 229. See also credits
Toklas, Alice B., 174
tools, x, 34, 35, 228-231. See also Avid; computer; digital technology; Lightworks; Moviola; Steenbeek
Touch, 135, 136, 140, 141
Treasure of the Sierra Madre, The, 120
trial, 174
Trip to Bountiful, The, 51-53, 57-59, 166
Truffaut, Francois, 70
two dimensions, 14, 111
V
vanishing point perspective, 110
VCR, 6, 100, 154
Verdict, The, 26, 27, 40, 41, 89, 92, 115-119, 125, 173, 197, 198, 221-223
vernacular, 213
VHS, 48, 154. See also tape
video, 26, 200, 201
Virgin Spring, The, 123, 159
visual logic, 50-52, 54-59, 61-64, 108, 113, 125, 187, 210, 212
voiceover, 66, 76, 135, 145, 154-157. See also narration
Vu, Bao, 105
W
Welles, Orson, 217
Widmer, Ted, 228
wild sound, 66
Witness, 102-104, 130-134, 137, 187, 214, 223, 224
writers, 216, 230. See also screenwriters
Z
Zaka, Zohra, 17
zoom, 93, 94, 96
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