One of White’s mentors at Sundance was Dede Allen, who cut “Dog Day Afternoon” and “Bonnie and Clyde.” Allen instilled in White an unfussy approach. “You run into editors who say, ‘I can’t make that cut, the glass of water is in the wrong place in that take,’ ” White said. “But I’ll say: ‘Who cares? The performance is strongest in that cut!’ Why would you match the glass and take on that worse performance? ‘Matching is for sissies’ — that’s one of the things Dede would say all the time.” White argues that as audience members, we “look at actors’ eyes most of the time, so as long as they’re engaging, you’re going to be connected to that person, and whatever happens elsewhere in the frame is less important.”
Reminds me of one of Airplane creators David Zucker's rules:
That didn`t happen: Completely defying logic is bad, but something that is on and off the screen so fast that we can get away with it is OK. Example: Robert Stack in ``Airplane!`` yells to Lloyd Bridges, ``He can`t land; they`re on instruments!`` And of course we cut to the cockpit and four of the actors are playing musical instruments. Seconds later, in the next scene, the saxophone and clarinets have disappeared. If it`s done right, no one in the audience will ask where the instruments went.
We used that as a guiding rule during edit of this Vooza episode...
...At 1:20, Steve's gums get all bloody. In the next shot, they're all clean again. "That didn't happen."
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