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Ally the Manic Listmaker
16May10
Interesting. I just watched Rope and didn't notice the cuts. Apparently, there were 6-8 edits, but they were done to appear seamless.
SaintAmour Brennan
9Feb10
@ KENJI. I'd be in interested to see your list. Then Ill watch the films on your list. I thought of L'Avventura but I was able to justify these twenty five films more so. Maybe Ill reconsider after another watch. I've been a good 2 year removed.
Kenji
9Feb10
I think Petulia should be on here, as an interesting and obvious influence on Don't Look Now (the more obvious as Roeg was cinematographer on the former). Editing may also be admired for simple timing and rhythm, just getting it right quietly and without ostentation, how long to hold a shot, when to cut, so i was struck even by L'Avventura and Pather Panchali, which would not usually be included as examples of editing. Ozu too. This i think is far preferable to and more mature than so much pointless fast flashy editing in Hollywood today with its "intensified continuity" for short attention spans- what a waste of Kuleshov's, Eisenstein's and Pudovkin's pioneering ideas. But good idea for a list anyway
SaintAmour Brennan
9Feb10
I'm aware of those thoughts, they are innately the most regurgitated ideas about the development editing in cinema. Ill be more brisk and direct, Your not going to get acknowledgements from me about your ideas cause simply I don't care, and If you wanted to have a discussion about editing, messages or my wall would have sufficed instead. If you had some sense of original thought maybe I wouldn't be so stand off. It's pretentious to assume that you can go on other people's list of films that inspire someone during post and discredit and share your ideas why. Focus on making your films in the little market of Canada and maybe soon I'll have a reason to give a shit about what you think cause maybe you'll develop your own ideas not ones from film school or the criterion dvd special features.
SaintAmour Brennan
8Feb10
Alright, simply you want to develop critical thought on the craft of editing, fair enough. All the films you mention call attention to themselves and their editing styles I totally agree.... but isn't that dependent on the viewer and their knowledge of film technique. People on this site have to come to realize if you come onto someone else's list of "personal" favourites for particular reasons, subjectivity gives no cause to try to discredit the merit of ones list. "Goodfellas" in particular, when you first encountered that film, the paranoia scene with Ray Liotta at the climax of the film, did you actually notice the cut, or were you engrossed into the story. All the films on this list are loved or were loved by audiences not because technical achievements, its for what those achievements contribute to "the story" and the emotions comprising or compelling it.
Law
2Dec09
A 20 minute shot? Hmm that's tough. But the films of Hou Hsiao Hsien and Hong Sang-soo have always greatly appealed to me. And in local Singaporean cinema, I see that the upcoming New Wave is mostly adopting this style and from what I have seen, it is excellent. My favourite "1 scene 1 take" (or at least almost) films are Three Times, Goodbye South Goodbye, anything by Hong Sang-soo, Drowning in the Time of Flood and White Days.
SaintAmour Brennan
1Dec09
Select minimalism is wonderful when it's juxtaposed but i can't say I've seen anything that i thought uses it in it's entirety for a run time over 20 mins and is successful. any suggestions LAW?
Matt Dix
1Dec09
Personally I think minimalism works, as long as your shot isn't boring and contains all you need to see. You can move the camera around instead of cutting - mise-en-scene works by moving to reveal new visuals instead of cutting. It's just much more difficult logistically, being one long take the actors (and the crew) have to nail it.
Matt Dix
1Dec09
There's a difference between someone watching Breathless now as opposed to 1960. A jump-cut may have alienated audiences in the past, but today its such a common choice that it doesn't have the same effect. Our cinematic language has changed to the point where jumps in time or place are no big shocker. So I agree with Murch's law - the timing of the cut should be just when we want (or need) the information to be revealed. And if that happens our curiosity is constantly satisfied, and we never notice the cut itself.
Law
1Dec09
Well, I am quite a fan of Brecht, so I believe in the power of taking people out of the story. Godard (and so was Resnais, if I recall correctly) was quite a fan of Brecht and his alienation effect too, so I don't think they can really belong to this list. But thanks for creating it anyhow!
SaintAmour Brennan
1Dec09
I'm a firm believer that films achieve more if you have a seamless unnoticeable cut because it doesn't distract or take people out of the story. I totally agree Breathless is all about noticing the cut, but I can't fathom writing a list on editing and not mentioning it because it helped inspire so many. I don't particularly think the cutting helps the film though because i think the film as a whole is just a rebellious statement, not a good story, or well executed technical achievement. It's just a film that enthuses young filmmakers with the idea to do things their own way or just make a film without limitations. I personally think it wasn't til he made Le Mepris, I think he grasped what he was doing.