How many takes to shoot “One for Lloyds…” is a phrase often heard on movie sets in the UK. It means shooting a second take, even if take one was perfect; y’know, just in case. Lloyds is the centre of the British insurance market – I believe their policies once demanded that a minimum of […]Read More “One for Lloyds”?
Invisible vs. high-profile editing I started in the cutting room at an exciting time for editing. The high-octane style popularised by music videos shown on MTV and made possible by editing on computer rather than on celluloid, was starting to filter through to feature films. In some cases it led to the sort of […]Read More The Invisible Art of Editing?
Writing Movies Within Your Means, pt. 3 ☛ Previously I’ve looked at how locations can bring down your budget and how to justify shooting on cheaper cameras, but you can also save money through clever use of writing itself. Dialogue When asked why his movies were so dialogue–heavy, indie auteur Hal Hartley quipped “Talk’s cheap”. […]Read More Conversations with the Invisible Man
Editing tip # 1: Jump cuts Regular readers may be wondering about the recent silence from the Cutting Room Floor: I can report that an exceptional run of work has stopped play. I’m working hard editing a feature film called We Still Kill the Old Way directed by my friend and colleague Sacha Bennett. In […]Read More Jump Around!
How to make an industry trailer ☛ My last piece was about the trailers that show in cinemas, the ones the public gets to see. However, before a movie’s theatrical trailer or even its teaser has hit the big screen, there may have been a couple of promos already cut for that film. Indeed new […]Read More Coming Soon, part II
How filmmakers throw emphasis on what’s essential ☛ Cinema is one of the most naturalistic of the arts: it’s often shot in the real world and we expect movie characters to behave pretty much as people do in reality. This naturalism can make our stories all the more compelling; the audience love to come out […]Read More Signal to Noise
What Makes a Good Short Film? ☛ My last blog on short films provoked a few debates – I’ll stick with that subject. In fact shorts have been much on my mind of late: I started editing a short for artist filmmaker Daria Martin, worked with Lucy Hay on the finishing touches to her script […]Read More Shorts According to Curly