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OT: Movies/TV Shows

JackBurton said:
That's the issue with most action scenes. You don't know what's going-on between the quick-cuts and fake CGI.
That's why Fury Road was so amazing.

That truck/ark chase in raiders is off-the-charts. Same with the last 10 minutes of TOD.
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Fury Road is great because I didn’t care what was going on… I just surrendered to the film 15 minutes in and enjoyed the amazing ride
 
zeke said:
There's a real art in cutting and sequencing to keep the audience oriented within CGI meleès but most movies miss by a lot.
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yeah quality editing feels like a lost art form in general…feel like that’s something that the Netflix factory effect has had a horrible impact on, and why so much of their shit feels second rate.


Wouldn’t be surprised at all to learn editors are handed to most directors when they sign deals with Netflix of some shit.
 
CH1 said:
Fury Road is great because I didn’t care what was going on… I just surrendered to the film 15 minutes in and enjoyed the amazing ride
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Rewatched it recently and it was every bit as good as the first viewing….

Quality live action stunt work is why I’ll always ride for Tarantino’s Death Proof too….the driving scenes are all brilliant, that stunt actress is god tier, and Stuntman Mike is an all time Tarantino character in his own right anyway.
 
Montana said:
yeah quality editing feels like a lost art form in general…feel like that’s something that the Netflix factory effect has had a horrible impact on, and why so much of their shit feels second rate.


Wouldn’t be surprised at all to learn editors are handed to most directors when they sign deals with Netflix of some shit.
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It's the volume of "content" out there in conjunction with how "easy" its become to learn how to use professional editing software. I'm a relative neophyte with only a few years experience with resolve but even I'm pretty confident that I could edit and grade small projects well enough to not embarrass myself.

So you get assholes like me willing to work for cheap (like me...not me. I don't do shit for cheap) to build their credits up and before you know it they're on the Netflix approved list.
 
Fargo E7 last night...they literally could have omitted it and it wouldn't have made a difference to the story. Pure time filler.

Meanwhile, rewatch up to Dallas Season 9 and still can't take my eyes off it. Further cemented the already cemented opinion of Larry Hagman being the best tv actor ever and the JR character being the best ever. The casting on the show is fantastic, especially JR, Bobby, and their mother. All literally perfect, nobody could've done better. Chemistry between them is unmatched. But here's a classic JR/Cliff scene.


View: https://www.youtube.com/watch?v=Z9Qu-YUx3Y0
 
Montana said:
yeah quality editing feels like a lost art form in general…feel like that’s something that the Netflix factory effect has had a horrible impact on, and why so much of their shit feels second rate.


Wouldn’t be surprised at all to learn editors are handed to most directors when they sign deals with Netflix of some shit.
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View: https://www.youtube.com/watch?v=GFMyMxMYDNk
 
MindzEye said:
It's the volume of "content" out there in conjunction with how "easy" its become to learn how to use professional editing software. I'm a relative neophyte with only a few years experience with resolve but even I'm pretty confident that I could edit and grade small projects well enough to not embarrass myself.

So you get assholes like me willing to work for cheap (like me...not me. I don't do shit for cheap) to build their credits up and before you know it they're on the Netflix approved list.
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So you’re the problem, eh?
 
MindzEye said:
It's the volume of "content" out there in conjunction with how "easy" its become to learn how to use professional editing software. I'm a relative neophyte with only a few years experience with resolve but even I'm pretty confident that I could edit and grade small projects well enough to not embarrass myself.

So you get assholes like me willing to work for cheap (like me...not me. I don't do shit for cheap) to build their credits up and before you know it they're on the Netflix approved list.
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That makes so much sense once you lay it out (even just from the perspective of such a massive change in the volume of content being done Vs quality editors available.)

….but yeah then you also have a shitton of folks who know maybe the craft of how to edit, but lack the artistic ability (and years of experience grinding away & earning their way up the ladder) to do what Sally Menke did for Tarantino all those years, or Dylan Tichenor with PT Anderson (also did my favourite Royal Tenenbaums) ….and it results in shittier and shittier movies overall.

editors don’t get the love their deserve, but a great one is arguably as big a collaborator with a director as a DP is, or maybe even the writer given just how much a film can be crafted in the editors booth.
 
Fucking hell, Dylan Tichenor also edited Assassination of Jesse James by That Coward Robert Ford. as well……which is another personal top 5 fav film of mine.


Hard Eight
Boogie Nights
Magnolia
Royal Tenenbaums
There Will Be Blood
Brokeback Mountain
Doubt
Jesse James
Phantom Thread


Dude might be the Roger Deakins of editors.
 
As you know the higher up you go in the budgetary echelons, the more hands on the final product.

I have offline edited a few tv spots, to see them onlined and than colour graded.

Sure the final product was better but the difference in cost is spectacular
 
Montana said:
That makes so much sense once you lay it out (even just from the perspective of such a massive change in the volume of content being done Vs quality editors available.)

….but yeah then you also have a shitton of folks who know maybe the craft of how to edit, but lack the artistic ability (and years of experience grinding away & earning their way up the ladder) to do what Sally Menke did for Tarantino all those years, or Dylan Tichenor with PT Anderson (also did my favourite Royal Tenenbaums) ….and it results in shittier and shittier movies overall.

editors don’t get the love their deserve, but a great one is arguably as big a collaborator with a director as a DP is, or maybe even the writer given just how much a film can be crafted in the editors booth.
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Everyone in the biz knows how important an editor is. Editing is the only truly innate part of visual storytelling. Writing, Directing, Photography techniques all existed prior
 
Montana said:
Fucking hell, Dylan Tichenor also edited Assassination of Jesse James by That Coward Robert Ford. as well……which is another personal top 5 fav film of mine.


Hard Eight
Boogie Nights
Magnolia
Royal Tenenbaums
There Will Be Blood
Brokeback Mountain
Doubt
Jesse James
Phantom Thread


Dude might be the Roger Deakins of editors.
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Jesse James is a strange one. I think I've read Brad Pitt saying it's the favorite film he's done.

I saw it back when it came out, but never again since then. It was okay, maybe pretty good, but not an amazing film, and I'm the biggest Brad fan here.
 
Director still has final say… but yeah editors literally have the story in their hands
 
One realm where editors get scant praise is in the publishing world where they literally cut out entire characters and subplots that bog the work down
 
CH1 said:
One realm where editors get scant praise is in the publishing world where they literally cut out entire characters and subplots that bog the work down
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David Foster Wallace gave Michael Pietsch a ton of credit for editing his work, and cutting down ‘Infinite Jest’ the amount he did. He made a point of people knowing how big an impact he’d had on the final product.

That a pretty Herculean effort to….to not only have the stones to cut DFW’s words, but the self confidence to know the right parts to cut.


In a more morbid sense, I think it’s also partially why he was okay taking his own life before completely finishing ‘The Pale King’ because he knew with what he was leaving and the notes he left for them, Pietsch et al could carve out a book from what he was leaving behind.
 
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