It's funny how this bell curve happens in virtually every profession, whether it's manual labor, coding, or artistic. When you're a beginner you do less (because you dont know how to do more). When you're intermediate, you do more (because you think more is better) and then when you're a master, you do less again (but this time it's because you do only what's absolutely necessary and everything else is superfluous).
The beauty of filmmaking truly happens when editing isn't just the step where all of the errors on set are now your responsibility to piece together. When a director can just properly get the shot so you have the right material to work with to make things like this happen, it's so fantastic.
Me adding a 6 second shot to my rough cut My editing professor: "6 seconds? This ain't 1952 buddy, its too slow. It needs to be faster, more cuts, more B-rolls, MORE B-ROLLS!!!" He would get a heart attack after watching this.
Even when I closed my eyes as in the theatre as she took her finger off, the sound editing was so good that I still felt her cutting it off. I couldn't hold it anymore and when I opened my eyes, the scene cuts to the payoff, which I tried so desperately to ignore LOL. I felt everything. I love and hate it, and I think that's the effect the director and editors wanted the audience to experience. This was a great episode, thanks so much for doing it!!
The finger getting cut off is an amazing scene. Staying on her face longer then we’re used to to the point where you think we might not see the finger but BAM. There it is. Also staying j the actor’s face letting them ACT.
Not cutting is one thing, not moving the camera to get a perfect framing of the scene is something else. Yasujiro Ozu was the master of the static framing. He did it back in the day (1940s, 1950s).
This just proves to how subjective the art of filmmaking can be. This is great but you can also have multiple cuts in the same scene and turn it into a stunning piece of artwork. Just because we are so used to cuts in even low production films, this feels different and unique
The no cut approach is one of my favorite moves. It is the kind of thing that when pointed out to less critical eyes, people can no longer unsee the lack of cutting. John Huston used this technique as well as a way to have more control over the narrative.
"...let the code of the scene be transmitted". This statement kinda blew my mind a bit. He's thinking about the 'product' in different way, a better way. Imbuing it with agency almost. Thank you for this video.
I thought that was the aim of a good edit cut, for the message to be conveyed in the clearest, most potent way possible. However, I understand the director's, producer's, studio's, editor's visions don't always align to achieve that goal.
I LOVE the discussion about the "expansion of time" by going out (in concentric circles thematically) and returning and how it amplifies the theme. Sounds like an expanded version of thematical montage a la Sergei Einsenstein - but instead of shots, it's sequences. Same idea anyway - maybe it's ALL owed to Eisenstein.
I like the frame narrative concept in this film, these are usually tough stories to edit because these edits call for the highest degree of psychological awareness of the editor in relation to what the audience needs to feel from the director's perspective of course. Great stuff!
Having recently watched a series made for Disney... where there is so much that is implied but never said, but done badly, watching some of these clips really highlights how much information can be conveyed without words... and simply through visual story telling & editing
Always impressive guests! I usually haven't heard of them but knowing they are behind such masterpieces, immediately get the idea. Nice one, Hayden! 🍿🎬
That push in while she's talking about mundane grocery stuff is so The Shining coded. It works so well to set you up for what's next. It's shocking but because of that push in, the silence, and the music, you're shocked but somehow ready for it. It's so wild.
Compositional frames, purposefuley narrative builds, all within a particular shot / scene, etc., nicley done. It's always something artistd struggle with. If you have a hammer, then swing, and everything is a nail. give someone an edit suite and all they do is press the cut button. Thanks for this! Keep it up!
This is Jim Jarmusch's approach since the 80's. I've been doing it a long time now. Funny thing is, I literally broke up a friendship with an "editor" friend. We worked on a project of mine. While editing he insisted on cutting. We argued. As director, I got my way. I took the finished version home on VHS because I needed to send it off. A few weeks later, I got the final, final cut... and he changed it! When I called him screaming bloody hell, he kept lying, saying he didn't change anything. lol. I later won a small award with my version.
I never imagined this before, but now it makes sense. It's similar to something I recently watched, Monsters: The Lyle and Erik Menendez Story. There's a scene that's over five minutes long without any cuts, and it's very interesting because I was able to follow the scene clearly without it feeling compromised.
Many thanks for the video. It’s amazing that Dzyga Vetrov’s ideas are still alive. BTW, his pseudonym “Dzyga” translates from Ukrainian as «spinning top».
Although this seems very simple, my question is, were they shooting for the edit? Was the way that the film was cut ALREADY in the filmmaker's head or was every possible (logical?) shot taken to play with in post?🤔
This is an amazing episode with so much to learn and feel threatened at the same time, which is incredible. Both the host and interviewer are top-notch! This is my first time commenting on a show on UA-cam. Thank you~
I have learnt a lot about editing with this great piece of work, thanks to our Oscar nominated editor, which is a visual representation of how a story will play out with visual information, shot by shot. It's made up of a chronological series of images, with accompanying notes, helping the filmmaker to clarify their vision. I'm from Sierra Leone 🇸🇱 West Africa, trying to lay more emphasis in filming as well as editing with mindset technical sound.
Did I miss a spoiler alert? I'm glad I didn't see this before seeing the film at the cinema. This video reveals significant acts in the film which evoke changes in the viewers' understanding and emotions through all three stories.
I think it was IMDb that used to list the average scene length for movies. Quite a few were 5 seconds or less, which meant there had to be a lot of rapid cuts in order to drag the average down for the entire movie.
You should invite Director of Somebody else -1975 music video Tim mattia or Jodeb. They cut everyting in different time and spaces. Kind a very unique way to make things
The only problem i have with this is she's cutting off her thumb with the TIP of the knife instead of the middle, you have much less control and leverage if you cut with the tip
i was not ready for that first scene oh my GOD! its somehow what im NOT seeing thats making me squirm in my chair and then the quick cut to the thumb is just brutal man what the fuckkkkk
most of what i have been taught is to cut cut cut keep peoples attention people have short attention spans. this is like completely the opposite of that advice so how would you take this information and apply it? just looking for others ideas and to start a conversation on the video.
I always thought that editing follows the script. So how would the director or the DP know to film the flashbacks if it's not in the script? I gotta go find that script now.
Asking the editor why he chose to have the cut where we see him spiking her drink doesn't make much sense, since that was not his call. The idea came from the screenwriter or director.
What a coup having Lanthimos' editor and great piece! However I feel you needed to put it into context a bit more: you need a script like this one and a director like Lanthimos before editing like this - for example, that finger shot is sooo typical of Lanthimos - he teases the viewer into expecting the character will somehow get out of their predicament (like in most genre movies) and then a viewer won't expect they will actually see the horrible act, but for there to be a cutaway (unless it's a gore film) - Lanthimos then does the exact opposite and shows it in a graphic, but plain, unadorned way, with sparse, paired-down music and a lack of theatrics. Lanthimos is pretty much the only writer/director I can think of who does this, though there are probably others who also use a minimalist approach (Michael Haneke is close). It's just a defining characteristic of his style, because he is precisely doing the opposite of what other filmmakers do. I've also heard that it's really the main writer, Efthimis Filippou who defines this style more than Lanthimos himself. I love all the jumping about in time, but flashbacks are standard fare in filmmaking, it's just that here the story is so weird that it takes you aback.
Great stuff. But it's easy not to cut when you've got true professionals onscreen and behind the camera. For lots of amateur filmmakers (like my students), there's a necessity to cut more frequently.
oh snap , you owe me $50 sir !!! lol great video , lots of insight . Im not a creator but I do love films and writing good stories. This stuff will come in handy.
I love what you got to show here and enjoy what you have to say. Really good stuff. One note just maybe from me... but SPOILERS? LOL. I have not had a chance get to Kind of Kindness yet and wow!!! yes this sc is amazing and i'm in it.. but spoiler maybe LOL. Keep up the good stuff all in all.
I would like to differ on the show size of the first clip 3:05. That shot does not give the feeling of terror or fear in any way. It gives a feeling of something is cooking. NO feeling yet. The second shot which the frame is closer with him still on the right still makes us feel he is timid. To get fear in the shot the shot should have been wider, even wider. Take the action away from the audience. That voyeuristic looking into the crime from a distance. Then the long cut is fine. If you want to personalize the feelings of the actors with the audience then you move to Mid shot with slow trolley / dolly in to both of them. I am trying to be more objective. Now the cut will also be as per audiences. The senior audience will see differently than the younger audience. The second film gave the right feel. this was on the script level and can see it. The timing of shots are great. Great editing
![Ultimate Guide to Camera Movement - Every Camera Movement Technique Explained [The Shot List Ep6]](http://i.ytimg.com/vi/IiyBo-qLDeM/mqdefault.jpg)
![Ultimate Guide to Camera Movement — Every Camera Movement Technique Explained [The Shot List Ep6]](/img/tr.png)
This Podcast is basically free editing film school.
'if you're not paying for the product, you are the product'
youtube university
Absolutely!
That is a price I'm willing to pay @@Kawabata_Akira
@@Kawabata_Akira no, mubi paid for the product. we have it for free.
Can't believe this is free. So amazing to hear a cinema professional explain his style so eloquently.
not free for them, they are sponsored by mubi
@@AlamdaAli not free for us, we pay by being exposed to commercials...
It's funny how this bell curve happens in virtually every profession, whether it's manual labor, coding, or artistic. When you're a beginner you do less (because you dont know how to do more). When you're intermediate, you do more (because you think more is better) and then when you're a master, you do less again (but this time it's because you do only what's absolutely necessary and everything else is superfluous).
it's true what they say, "less is more"
Now I'm curious. Is this the reason why uncut walking tour videos gain a lot of traction on UA-cam?
movie name
The beauty of filmmaking truly happens when editing isn't just the step where all of the errors on set are now your responsibility to piece together. When a director can just properly get the shot so you have the right material to work with to make things like this happen, it's so fantastic.
The thumbnail says Don't cut, and yet the thumb was cut.
lmaoo
lol..
Me adding a 6 second shot to my rough cut
My editing professor: "6 seconds? This ain't 1952 buddy, its too slow. It needs to be faster, more cuts, more B-rolls, MORE B-ROLLS!!!"
He would get a heart attack after watching this.
This guy was actually my editing professor. 😄
💀
@@Winduct what was he like as an editing professor?
@@the.lbd.diaries Slow and quiet but a deep thinker.
@@Winductthat's cool. thanks for replying
Even when I closed my eyes as in the theatre as she took her finger off, the sound editing was so good that I still felt her cutting it off. I couldn't hold it anymore and when I opened my eyes, the scene cuts to the payoff, which I tried so desperately to ignore LOL. I felt everything. I love and hate it, and I think that's the effect the director and editors wanted the audience to experience. This was a great episode, thanks so much for doing it!!
I feel so sick hahahaha I was doing the same
The finger getting cut off is an amazing scene. Staying on her face longer then we’re used to to the point where you think we might not see the finger but BAM. There it is. Also staying j the actor’s face letting them ACT.
what movie is it?
@@KevinJM220 Kinds of Kindness. Might still only be in theaters.
He was my teacher in film school!❤❤❤❤❤❤❤ amazing person, big love!!!!
Yorgos Mavropsaridis' encouraging words towards the end of the video was so sweet. So lovely!
Not cutting is one thing, not moving the camera to get a perfect framing of the scene is something else. Yasujiro Ozu was the master of the static framing. He did it back in the day (1940s, 1950s).
This just proves to how subjective the art of filmmaking can be. This is great but you can also have multiple cuts in the same scene and turn it into a stunning piece of artwork. Just because we are so used to cuts in even low production films, this feels different and unique
That first shot is so terrifying that I almost didn’t want to watch this video.
Love this. Nice to see in a world of UA-camrs making it feel like there needs to be a cut every tenth of a second.
The editor is as much artist as technician. Love this.
The no cut approach is one of my favorite moves. It is the kind of thing that when pointed out to less critical eyes, people can no longer unsee the lack of cutting.
John Huston used this technique as well as a way to have more control over the narrative.
"...let the code of the scene be transmitted". This statement kinda blew my mind a bit. He's thinking about the 'product' in different way, a better way. Imbuing it with agency almost.
Thank you for this video.
I thought that was the aim of a good edit cut, for the message to be conveyed in the clearest, most potent way possible. However, I understand the director's, producer's, studio's, editor's visions don't always align to achieve that goal.
I LOVE the discussion about the "expansion of time" by going out (in concentric circles thematically) and returning and how it amplifies the theme. Sounds like an expanded version of thematical montage a la Sergei Einsenstein - but instead of shots, it's sequences. Same idea anyway - maybe it's ALL owed to Eisenstein.
I like the frame narrative concept in this film, these are usually tough stories to edit because these edits call for the highest degree of psychological awareness of the editor in relation to what the audience needs to feel from the director's perspective of course.
Great stuff!
Having recently watched a series made for Disney... where there is so much that is implied but never said, but done badly, watching some of these clips really highlights how much information can be conveyed without words... and simply through visual story telling & editing
Dude you're brave to continue to show this in youtube.
Also props to the Master editor and the interview amazing
Always impressive guests! I usually haven't heard of them but knowing they are behind such masterpieces, immediately get the idea. Nice one, Hayden! 🍿🎬
That push in while she's talking about mundane grocery stuff is so The Shining coded. It works so well to set you up for what's next. It's shocking but because of that push in, the silence, and the music, you're shocked but somehow ready for it. It's so wild.
Compositional frames, purposefuley narrative builds, all within a particular shot / scene, etc., nicley done. It's always something artistd struggle with. If you have a hammer, then swing, and everything is a nail. give someone an edit suite and all they do is press the cut button. Thanks for this! Keep it up!
ok.. i gotta pause at 5:00.. never heard of this movie.. now I gotta go watch it first.. while both thumbs are intact... WOW!
Doing the same! Love these actors. Love this kind of film. Looks super interesting. I’ll be back!
this was incredible to watch
You're incredible for watching thank you.
It's very touching that he called her Emily.
This is one of the most influential videos I've seen on editing. I am bookmarking this for rewatching and future reference.
14:00 is a double entendre in film language. 😮
Intriguing insights into the world of Oscar-nominated editing! Your exploration of the editor’s unique rule is both thought-provoking and inspiring
very powerful information in this clip. thank you for sharing!
Incredible conversation. Thank you!
as an intern sound designer this helped me so much such a brilliant video, thank you for this
This is Jim Jarmusch's approach since the 80's. I've been doing it a long time now. Funny thing is, I literally broke up a friendship with an "editor" friend. We worked on a project of mine. While editing he insisted on cutting. We argued. As director, I got my way. I took the finished version home on VHS because I needed to send it off. A few weeks later, I got the final, final cut... and he changed it! When I called him screaming bloody hell, he kept lying, saying he didn't change anything. lol. I later won a small award with my version.
understanding the genius of it is freakin amazing
This was fantastic! Thank a lot for this!
If only he broke his one rule and cut every 0.5 seconds he might have won an oscar for best editing like in Bohemian Rhapsody.
I never imagined this before, but now it makes sense. It's similar to something I recently watched, Monsters: The Lyle and Erik Menendez Story. There's a scene that's over five minutes long without any cuts, and it's very interesting because I was able to follow the scene clearly without it feeling compromised.
Wow! You got Yorgos?! Amazing.
Can you get Thelma Schoonmaker?? :)
I often listen to The Editing Podcast while I am driving or doing chores. Today I watched it during breakfast 🤢 ; guess I'll go back to listening 😆.
Many thanks for the video. It’s amazing that Dzyga Vetrov’s ideas are still alive. BTW, his pseudonym “Dzyga” translates from Ukrainian as «spinning top».
Amazing to honor a master.
Although this seems very simple, my question is, were they shooting for the edit? Was the way that the film was cut ALREADY in the filmmaker's head or was every possible (logical?) shot taken to play with in post?🤔
I like the tip for the kitchen scene; be cognisant of your timing (visual vs audio). Good rule of thumb. xD
This is an amazing episode with so much to learn and feel threatened at the same time, which is incredible. Both the host and interviewer are top-notch! This is my first time commenting on a show on UA-cam. Thank you~
I have learnt a lot about editing with this great piece of work, thanks to our Oscar nominated editor, which is a visual representation of how a story will play out with visual information, shot by shot. It's made up of a chronological series of images, with accompanying notes, helping the filmmaker to clarify their vision. I'm from Sierra Leone 🇸🇱 West Africa, trying to lay more emphasis in filming as well as editing with mindset technical sound.
Love this podcast, golden nuggets a plenty!
Very nice to know this powerful cutting technics. Thank you for sharing.
this is amazing hayden !!!
Thank you so much. UA-cam Gold
Thank you so much for the interview and your efforts. I wish you all the best.
Sweet video. Thanks guys 😎
Did I miss a spoiler alert? I'm glad I didn't see this before seeing the film at the cinema. This video reveals significant acts in the film which evoke changes in the viewers' understanding and emotions through all three stories.
I haven’t seen the film and unfortunately didn’t realize how much would be revealed 😅
really nice intro pacing and giving me exactly what I clicked for. thank u
AMAZING, thank you very much for this
I don't know this channel, but 4 minutes in I am shocked! I need to pause and go watch Kinds of Kindness.. This video it's too well made. 👏👏👏
I think it was IMDb that used to list the average scene length for movies. Quite a few were 5 seconds or less, which meant there had to be a lot of rapid cuts in order to drag the average down for the entire movie.
You should invite Director of Somebody else -1975 music video Tim mattia or Jodeb. They cut everyting in different time and spaces. Kind a very unique way to make things
Wow! Not even finished yet, and this one is 😮 🤯
Sir please make a podcast with music video director to editing tips
Great podcast! I’m curious how much much of these complex sequences are in the script?
The only problem i have with this is she's cutting off her thumb with the TIP of the knife instead of the middle, you have much less control and leverage if you cut with the tip
That was so interesting video! Thank you!
I love this. Thank you
Mastering the art of film editing
i loved watching this ...... amazing observation by you bro.. real filmmakers
15:05 im not so send me my 50$ sir!😂
i was not ready for that first scene oh my GOD! its somehow what im NOT seeing thats making me squirm in my chair and then the quick cut to the thumb is just brutal man what the fuckkkkk
Love this content, thank you.
what an amazing episode. Anyway, I need to get back to work
most of what i have been taught is to cut cut cut keep peoples attention people have short attention spans. this is like completely the opposite of that advice so how would you take this information and apply it? just looking for others ideas and to start a conversation on the video.
Excellent break down
So useful! Thanks
I always thought that editing follows the script. So how would the director or the DP know to film the flashbacks if it's not in the script? I gotta go find that script now.
This was very eye opening.
This is brilliant!
Asking the editor why he chose to have the cut where we see him spiking her drink doesn't make much sense, since that was not his call. The idea came from the screenwriter or director.
Subscribed, Thanks!!
Welp not gonna be able to sleep tonight. Thanks for the interview though😆
This was SO GOOD!
Love the video, thank you!
Please lint roll your mic foam
How could you forgot to censor the finger cut when this channel called the editing podcast
Very cool!
What a coup having Lanthimos' editor and great piece! However I feel you needed to put it into context a bit more: you need a script like this one and a director like Lanthimos before editing like this - for example, that finger shot is sooo typical of Lanthimos - he teases the viewer into expecting the character will somehow get out of their predicament (like in most genre movies) and then a viewer won't expect they will actually see the horrible act, but for there to be a cutaway (unless it's a gore film) - Lanthimos then does the exact opposite and shows it in a graphic, but plain, unadorned way, with sparse, paired-down music and a lack of theatrics. Lanthimos is pretty much the only writer/director I can think of who does this, though there are probably others who also use a minimalist approach (Michael Haneke is close). It's just a defining characteristic of his style, because he is precisely doing the opposite of what other filmmakers do. I've also heard that it's really the main writer, Efthimis Filippou who defines this style more than Lanthimos himself. I love all the jumping about in time, but flashbacks are standard fare in filmmaking, it's just that here the story is so weird that it takes you aback.
This is how film schools should be instead of boring af for 2 semesters and then dull and flat during some actual hands on basic crap.
What's the name of the films
For film i am totally agree but what about reel and content of 30 second
What’s the name of the song in this moment? 0:35 - 1:04
Sweet dreams
40% UA-cam commercials cuts, 10% Mubi commercials talk and 50% of Your Podcast....
Wow, what a great insight!
Great stuff. But it's easy not to cut when you've got true professionals onscreen and behind the camera. For lots of amateur filmmakers (like my students), there's a necessity to cut more frequently.
"don't cut" is also solid advice for emma stone in that movie!
inadvertedly spoiled kinds of kindness for myself BUT the video was worth it ;-;
oh snap , you owe me $50 sir !!! lol great video , lots of insight . Im not a creator but I do love films and writing good stories. This stuff will come in handy.
Love it 💚💚
I love what you got to show here and enjoy what you have to say. Really good stuff. One note just maybe from me... but SPOILERS? LOL. I have not had a chance get to Kind of Kindness yet and wow!!! yes this sc is amazing and i'm in it.. but spoiler maybe LOL. Keep up the good stuff all in all.
I would like to differ on the show size of the first clip 3:05. That shot does not give the feeling of terror or fear in any way. It gives a feeling of something is cooking. NO feeling yet. The second shot which the frame is closer with him still on the right still makes us feel he is timid.
To get fear in the shot the shot should have been wider, even wider. Take the action away from the audience. That voyeuristic looking into the crime from a distance. Then the long cut is fine. If you want to personalize the feelings of the actors with the audience then you move to Mid shot with slow trolley / dolly in to both of them. I am trying to be more objective. Now the cut will also be as per audiences. The senior audience will see differently than the younger audience.
The second film gave the right feel. this was on the script level and can see it. The timing of shots are great. Great editing
this is perfection
What's the movie mentioned in this video? 😮
trick is, this require the director and DOP to actually shoot good footage
YES. YES. YES.