Another great one, John, thanks!
Sent from my iPad
On Dec 23, 2010, at 5:10, John Hollands <johnhollands22@gmail.com> wrote:
> 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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