I have not the slightest doubt that most top Editors work in a very
similar way.
Each would be very familiar with the material, all would log it or have
it logged and I'm sure they would all have a method to refresh the
memory along the way.
From my own experience (taught by experts) I made sure the conditions
were in my favour. Here's how:
(This might enlighten those who have not cut workprint.)
Rushes (Dailies) come from the lab in the morning and need to be synched
up. Sound will have been transferred from Nagra 1/4" tape to 35MM
magnetic. Either full-coat or mag stripe.
The Assistant takes a couple of hours to synch into screening reels and
it is always ready by 12 noon.
At 12 noon I screen the rushes in the theatre. If the Director has
agreed, I will invite the Producer, otherwise it is a closed screening.
Earlier, the Lab would have given me a report - a technical report -
which I will have already passed on to the Unit. I'll either call the
Production Office or the First (1AD).
Having the noon screening is important for three reasons: one, it
confirms the Lab report (they screen mute and at high speed but they
don't miss much) and two, reveals any problems the Lab can't spot such
as performance issues or a prop not working (although everything is
green screen anyway now) or some Camera Operator issue. Third, it gives
me a "heads up" for a forthcoming discussion with the Director at Unit
rushes.
It also allows a little time to correct any non-printed takes although
the Assistant should have been on to that already.
So, after the noon screening the Director can call and we'll go over my
reaction to the material, although most days not.
In the evening, after wrap, we will have the Unit rushes screening. Note
that this is Australia and Unit rushes tend to include all the crew and
beers are invariably consumed. Crews will assign someone to the CTR.
That's "Cold Tinney Run". Sometimes called "Slab Run" (a slab is a case
of 24 beers). (A mobile phone ringing during a take incurs a "slab
penalty" to the offender.)
For good reasons, therefore, I will sit up the back with the Director on
one side and Continuity on the other. My Assistant will be in front of
us, taking notes. We're up with the gods, not down with the rabble.
The Director is there to talk me through the rushes, Continuity is there
to answer questions.
The Director will chat away, yet I can actually contribute, having
already seen the material.
Directors say things like "I didn't like the end of this wideshot so I
shot a closeup but I got it from two different angles and I want to use
the one where you can see the umbrella and just cut it in here..." -- it
is impossible to comprehend when you haven't seen the material and have
to concentrate to take it all in as it whizzes by. Career-wise it is
good to say "Yes, I saw that and it will work well". Flattery is rewarded.
My Assistant will have copies of the shot log and be quietly running a
pencil down it so any comments can be written against the shot they
apply to. Assistants must know at all times what the slate and take is.
BTW we use numerical slating not scene numbers. Slates start at 1 and
increment every new shot.
Once you know your Director, your Assistant can help by "tipping off" by
a nudge or cough or speaking. If the Director habitually shoots a lot of
takes and occasionally prints more than one, the Assistant should say
something like "This slate has six print takes" as it comes up,
provoking discussion.
Once I worked with a comedy Director who formed a hatred of a famous ad
libber. We found the slates where the second last take was printed
usually had gems on the last take. The Director just let the Talent go
on and then quietly refused to print the last take. The Producer printed
them and they were terrific in most cases. That same Director
threatened me with responsibility. "you organise it all, and you'll be
responsible" I knew right away he feared responsibility because he used
it as a threat to me. (It wasn't much of a threat because I LIKE to be
responsible and in charge, it was a threat TO HIM because he used
something HE was afraid of, see?)
Speaking of getting to know your Director, try this: ask casually if
they spend much time listening to music. Disregard the answer because
what matters is how they answer the next question, "what sort of music?'
How would a Director answer if they were:
arrogant
indecisive
rigid
grandiose
a flexible thinker
old fashioned
cutting edge
afraid to reveal their thoughts
trendy
traditional
concerned what others think
crazy
meglomaniacal
Oh, forget the last two. There's be NO Directors like that!!!!
Jolly Eggnog All!
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