DUNE 2: Editing Breakdown
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- Опубліковано 29 сер 2024
- Dune is a 2021 American epic science fiction film directed by Denis Villeneuve. Set in the distant future, the film follows Paul Atreides and his family as they are thrust into a war for the deadly desert planet Arrakis. The cast includes Timothée Chalamet, Rebecca Ferguson, Josh Brolin, Dave Bautista,, Zendaya, Jason Momoa, and Javier Bardem. In this video, "This Guy Edits" takes viewers on an in-depth exploration of the film's editing.
Bonus Scene Breakdown: thisguyedits.c...
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THIS GUY EDITS (TGE) is a UA-cam channel by film editor Sven Pape, an A.C.E. award nominee whose credits include work for directors James Cameron, Joseph Gordon-Levitt, and Sundance filmmaker Mark Webber.
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#dune #editing #sandworms
Synopsis:
In this video, "This Guy Edits" takes viewers on an in-depth exploration of the film "Dune." The video begins with an analysis of the movie's complex narrative structure and its adherence to the original novel. The pro film editor highlights the director's techniques, discussing how visual storytelling and sound design enhance the immersive experience of the movie. Key scenes are broken down to illustrate how character development and thematic elements are conveyed through cinematic choices. The review also addresses the challenges of adapting such a dense source material and the ways in which the film succeeds or falls short in capturing the essence of the original story. Throughout the video, "This Guy Edits" provides professional editing insights, making connections between editing decisions and narrative impact. This detailed review is aimed at both fans of the movie and aspiring filmmakers who are interested in the art of film editing and storytelling.
Check out the Bonus Scene Breakdown: thisguyedits.com/dune
Zendaya is handsome. Mass psychosis over the world.
Quite disappointing editing breakdown. I mean, apart from the Paul trippy close-up intercut with itself, and the Josh Brolin jump cut, you're not talking about the editing, you're just explaining the purpose of the script, which is already pretty explicit in that scene. You're spending so many minutes rephrasing what the characters are already telling, just to go to the conclusion that "this is set up", "this is more set up", "this is the surprise". You could have done that with the script, you did not need the movie and the shots. I also don't get why you're using the black and white trick, because Walker says it's for him to get a fresh view on a scene that he probably has seen hundreds of times, which is not our case. We don't need a "fresh" view, we need a deeper one, we need to understand why this shot goes after this one, we need to understand why Villeneuve decided to shot like this, how he has built the scene to give life to the worm. You're showing every cut but you make nothing out of them, you're just telling us what the writers had in mind when they wrote the dialogs and the scenes, but what about the editing ? I have no problem with you analyzing the scene through a narrative prism, if this is what you're selling us. But you're selling edit insights, and there's none. Understanding the purpose of the outline of the narrative is not something that will make you a better editor, it is something that is REQUIRED to be an editor, just so you can speak the same language with the director. But what an editor can add to the narrative, to the shots, to the story, to the director, how he can serve his vision, how his editing can serve the narrative already built by the dialogs and the outline of the scenes, THAT is interesting and needs to be broken down. Let's talk about the sound, the evolution of the music, its purpose, let's talk about Liet's voice over the shot of Paul flying over the worm, how it connects many layers of the story into a bigger one.... Let's talk about editing !
I agree as I was also a bit frustrated with the surface-level talk about the script and not much about the editing itself
Thank you for your thoughtful critique. I appreciate your passion for the intricate craft of editing, and I respect your desire for a deeper exploration into the editorial decisions that shape a film's narrative. However, I stand by my approach, and here's why:
Regarding the use of black and white, while it's true that Joe Walker used this technique to gain a fresh perspective after multiple viewings, my adoption of this method is a nod to editing lore. This isn’t about needing a "fresh" view; it’s about visualizing a technique that many editors use to experience what it literally does to the film.
Your point about focusing solely on the narrative outlined by the script is well taken. However, discussing how the editing aligns with the script is essential to understanding how edits serve the narrative. I understand that you are looking for more insights on the tools and techniques, and I recognize that instead of merely pointing out a close-up, I should attempt a clearer explanation of why a choice might have been made. I’m mostly interested in raising awareness of how editing is storytelling and how it can alter a viewer's emotional response or understanding of the story.
Yes, editors must speak the same language as directors, but they also speak directly to the audience through the material. Each decision in what to show, when to show it, and how long it lingers before cutting away contributes to an ongoing, dynamic form of storytelling that is unique to the medium of film.
As I continue to experiment with this format on UA-cam, I’m hopeful that I will get better at bringing this to light for the community.
Happy editing :)
As an editor, you’re the final scriptwriter
Fascinating
Pride, double down, ego. All death of a man.
The dialogue doesn't contradict. The sandworms are attracted to rhythmic noses. The line about how the shields throw the worms into a killing frenzy speaks for itself. Your chances of being killed by a sandworm simply increase drastically. I haven't read the books. That's simply how I interrupted the lines in the movie.
Yep, I was a bit puzzled by this comment. The Kynes' statement never seemed contradictory to me: the shields would make the worms even more aggressive.
The difference between normal Frenzy and extra frenzy is rather weird. You can’t quantify ‘extra’ without a 3rd Omni pov which movies are without. It makes more sense to say the wyrms breaks shields as like paper somehow.
I've read the books so it makes sense to me but I also see his point; the worm is coming one way or another, the degree to which you're screwed doesn't matter much at that point, so the line feels a little redundant.
My suggestion would have been for Kynes to pause for a beat, shake her head, and say something like "...No, *nothing* stops the worms." This would put greater focus on the power of the worms and the futility of the modern technology that Paul is used to; thus building dread and spending less time on exposition.
@@Ciuin_Sam I think they are explaining in this scene why you cant use your shield in the desert. Its more a statement for the future.
I mean it's kinda dumb to expect a shield to do anything about being swallowed by a gigantic creature... It's a dumb question as well as a dumb answer. Bad dialogue.
Paul's line to Gurney as Gurney arrives ("I recognize your footsteps old man") is a throwback to their training fight, and so it suggests Paul, while in the trance / dream state is still lucid. So... the jump cut suggests one strange aspect of Paul's experience of time, the line-reading suggests another, and the throwback, a third.
And with the golden rule of three, this line appears again in Dune part 2 when Paul attacks the smuggler harvester
like the line "Becoming an old man, filled with regrets, waiting to die alone" in Inception
It also has a double meaning. Shai-Hulud, the Fremen name for the sandworm, translates as "old man of the desert". So Paul is acknowledging both Gurney's and the worm's arrival.
Amazing breakdown! It would be interesting to see a breakdown of The Bear series
So spicy. Love the black & white flip technique.
Also I trust you used Resolve’s edit cut detection tool for making all those clip splits. 😆
Yep, thanks to Resolve it takes only 30 minutes to detect any edit. It would take me days to do the same job (which I did for Interstellar, Margaret, and Magnolia)
@@ThisGuyEdits Oh wow, yeah I can only imagine. 😅 Well done on this video sir 👏
11:00 I love that the noise of the malfunction is in slight delay with the visual, and that would be accurate for far away events as sound and light move at different speed.
I loved it. That said, what took me out of it was the lack of consistency in the technologies. They have personal levitation devices and they have giant starships that have no visible means of levitation yet the sand crawlers require ballons? They need flapping wings on ornithopters? Weird
There is a lack of consistency in technology here on Earth; In some parts of the world, people still use donkeys to carry things and listen to CDs. It is mentioned that the Sand Crawlers the Atreides were left with are archaic and low-tech compared to what the Harkonen's used (and took with them when they left). Money isn't spread evenly so balloons and flappy-wing craft may be more cost-effective on a planet that already puts such high demands on its inhabitants. That made the world feel more real to me, personally.
Joe Walker is one of my favorite editors, the behind the scenes for Arrival is really cool. The creative editing choices he makes are some of my favorite in big budget movies.
I took the sheild thing with the worms as it makes the worms angry and attracts more of them, so it just generally isn’t a good idea because without the shield the passive worm is easier to handle.
Amazing breakdown loved it - Never noticed some of the cuts while watching
I didn't even notice the jump cut! 🙈
Great video. I find it fascinating that Sven clearly doesn't understand the plot details in the shots as he keeps guessing what bits of dialog mean. I'm sure he watched the film but he didn't parse the entire film for content or story. He analyzes the clip from an editing perspective.
The long lens and soft focus make those supposedly giant machines look TINY. Bad choice.
Hello, your channel is just gold. I am also a video editor, but for now I edit short films and dream of editing full films. Can I ask you to upload videos to UA-cam in 4K? I would really like to see a clear picture of your analysis of films. UA-cam is more careful about videos above 2K and does not spoil the quality as much. I use Vocoder VP9 codec to render in 4K for UA-cam (4 mb/s), then the quality remains exactly the same. Thanks for what you do!
I saw an interview with Joe Walker, and he said the establishing shot of the transport working properly wasn't even created until after they'd edited the shot of the transport not working properly. Then he and Denis were scrambling to get it made. Even the best directors.... LOL
Here again, your way or explaining how the story is presented is a great test to apply over any video a person is editing.
Like watching with the sound muted so to look for inconsistencies......numbing the senses on purpose to bring out overlooked details.
Most cool. tHanks for the videos.
Woah, that is a crazy way to do that. I need to try.
Thanks for this breakdown! To be fair, flipping the image is the oldest trick in the graphic design playbook. Personally, I think Villeneuve's adaptation is about as good as we can expect, his sense of scale is wonderful. But some of the acting is clumsy (Keynes, for example), he lacks the imperial language from the book (language that Lynch appreciated), and the last shot in the film should have been the body of the man Paul killed (maybe a Lawrence of Arabia rip-off, but still a foretaste of what is to come). Thanks again!
For such a crucial piece of machinery it is shockingly fragile. One of four grapples malfunctions and the whole thing fails? Where's the built in redundancies?
What an awesome review...really inlighting!
I don’t get where the confusion comes from about the worms and why you can’t have shields for the spice harvester. Keynes clearly follows her explanation up with “…it drives them into a killing frenzy.”
And that is the reason: a worm will always come (and attack) because of the vibrations, but turn on shields and you’ll have one of these massive beasts doing that and coming at you but IN A KILLING FRENZY.
Yeah but WHY does it drive them into a killing FRENZY? I thought that if they're attracted to the vibrations, the shields would kill those off and make the harvester virtually invisible. That OR they'd just be useless.
I just didn't get it either 🤷♀
Fair, but didn't we just see a killing frenzy without the shield turned on in that particular scene?
@@ThisGuyEdits Granted, it may seem that way. But in the lore of Dune, a sandworm in a killing frenzy is a whole different beast. What we see in this scene is nothing by comparison. :)
@@contentcreator2311 That's not how the shields work in the universe of Dune. They don't dampen vibrations. The shields give off harmonic vibrations themselves (which drive the worms mad). The only thing they do (as shown in the earlier combat exercise and further on in the film); is stop matter from entering the shield at certain speeds: such as projectiles or knives.
@@contentcreator2311 From the explanation given in the film, they'd be ineffective against the worms. The shields stop fast moving objects (e.g. projectiles) but the worm closing its maw over crawler is (comparatively) quite slow, and consistent we what we see with slow moving blades penetrating personal shields.
It's funny how you say that the set up was important to establish how all of this works, and looking back at it now, it 100% makes perfect sense. But when I watched that sequence for the first time, I didn't even connect that first harvester to the one later, and got what went wrong from the scene at 11:02, because they lingered on the googles shot. For me, "The set up shot" just felt like one of those establishing shots of "the spice business". 😁
I had the same initial reaction, which makes sense because the audience can rarely track back in a movie as they are watching it for the first time. We often don't rationally understand its structure, setups, reminders, and payoffs during the experience. This is a good thing because when it works well, it creates more layers and mystery.
"The Editor's Effect" 🙃
I'm disappointed. The main reason Moadeeb, win the war, is there sound weapon technology. Its completely left out. Infact none seem to use a weapon
How does he have the literal dunes edit files??
What makes you think he has? It's just a rip using DaVinci Resolve's cut detection as mentioned in another comment.
Sven bitte video über zone of interest! ❤️
I'm so tempted. It is an amazing film.
@@ThisGuyEdits yessss pleaaase! ❤️❤️❤️❤️
Nice nice nice
👍🏻👍🏻👍🏻👍🏻👍🏻👍🏻
It is really good, but so overrated.
Movie is just a vfx flex, story is slow af
L take
@@EladOSRS L movie about big worms
I agree actually.
In my opinion the movie is just boring and the second part especially!
yea, visuals made everyone drool, but it got no soul . i prefer og film from 80s. at least it is absolutely original even tho its 'not a great' film
@@slanigrad Definitely right
@@slanigradAre you just trying to be different or are you serious?
@@daquaviousbingleton9763 read the book I read it many times!
@@wsnachum I’ve read them I also love the movies
The action scenes are rather bland. Sadly 😢. No Scott/Cameron/Spielberg/Jackson level. Definitely.
whole film is bland.
@@slanigrad You are bland.
Dune part II is definitely a huge step up in that regard. The action there is amazing. Although I should also add that action isn't the point of Dune. In the book, there really isn't even any action at all. Chapters in the book tend to end just before an 'action scene' and skip to the aftermath in the beginning of the next.
@@erik1579 Fair enough for an literal adaptation. But, Villeneuve did actually adapted the source material loosely. Why not take inspiration from the aforementioned directors? Especially Peter Jackson- I have yet too see a better battle than Elm’s Deep, battle of the Pelenor Fields or Minas Tirith siege.
Hell, the Battle of the 2 Bastards/Kings Landing Siege, battle against the White Walkers etc. (GoT), are also amazing and poignant.
PS- Jerusalem’s siege in Kingdom of Heaven is also neat.
lol obviously switching to black and white or especially flipping the image are meant to be ways to reassess a scene during the film creation process when one is looking at it many times in much detail, that's not for reviewing someone else's movie in a tiny fraction of the time.
True, but I guess it also help against copyright strikes on UA-cam. :) But I also like his reasoning that it may put the scene in a different context for those that have watched this film a couple of times already.