1 00:00:00,000 --> 00:00:02,810 [Music] 2 00:00:06,279 --> 00:00:08,840 editing is the process where the movie 3 00:00:08,840 --> 00:00:11,719 or the television show is actually made 4 00:00:11,719 --> 00:00:13,799 everything else is gathering the raw 5 00:00:13,799 --> 00:00:15,559 materials as my friend George Lucas 6 00:00:15,559 --> 00:00:19,240 likes to say um it's it's also the place 7 00:00:19,240 --> 00:00:22,279 where you you execute your final rewrite 8 00:00:22,279 --> 00:00:24,439 because there are so many creative 9 00:00:24,439 --> 00:00:26,840 decisions still to be made during the 10 00:00:26,840 --> 00:00:28,720 editing and so much that you learn about 11 00:00:28,720 --> 00:00:31,680 the story it is that you want to 12 00:00:31,680 --> 00:00:34,760 tell one of the most uh exciting but 13 00:00:34,760 --> 00:00:37,719 daunting things about the editing 14 00:00:37,719 --> 00:00:40,559 process it's the time in which you you 15 00:00:40,559 --> 00:00:43,640 actually come to terms with the 16 00:00:43,640 --> 00:00:46,039 possibilities of your story everything 17 00:00:46,039 --> 00:00:49,320 else has been a a sort of a hope a 18 00:00:49,320 --> 00:00:53,199 belief now in very tangible ways you're 19 00:00:53,199 --> 00:00:55,079 looking at what your story actually has 20 00:00:55,079 --> 00:00:57,280 to say what do it what does it convey 21 00:00:57,280 --> 00:01:00,160 how effective can it be now if the 22 00:01:00,160 --> 00:01:03,600 results of that are unsatisfactory for 23 00:01:03,600 --> 00:01:06,640 you or your audience there's still a lot 24 00:01:06,640 --> 00:01:09,600 you can do about it and that is what 25 00:01:09,600 --> 00:01:12,080 it's important to understand is that 26 00:01:12,080 --> 00:01:14,840 despite your plan despite you know 27 00:01:14,840 --> 00:01:17,240 everything that went into all the 28 00:01:17,240 --> 00:01:20,200 choices that you made from the script 29 00:01:20,200 --> 00:01:21,560 through the casting through the 30 00:01:21,560 --> 00:01:23,720 production design the budgeting the 31 00:01:23,720 --> 00:01:25,320 scheduling the 32 00:01:25,320 --> 00:01:29,320 shooting well it doesn't matter what you 33 00:01:29,320 --> 00:01:30,720 thought you were were doing or what you 34 00:01:30,720 --> 00:01:32,799 hoped you were going to get what matters 35 00:01:32,799 --> 00:01:35,040 now is what you have to work 36 00:01:35,040 --> 00:01:39,159 with so it's important to put all of 37 00:01:39,159 --> 00:01:42,399 that behind you and have an open mind uh 38 00:01:42,399 --> 00:01:45,600 I always uh like to turn to the editors 39 00:01:45,600 --> 00:01:47,159 at a certain point when I see a scene 40 00:01:47,159 --> 00:01:50,000 that's not working very well and I like 41 00:01:50,000 --> 00:01:53,560 to say what idiot directed that scene uh 42 00:01:53,560 --> 00:01:56,880 because it's it's just a way of kind of 43 00:01:56,880 --> 00:01:59,200 formally just putting all of that behind 44 00:01:59,200 --> 00:02:01,560 us it doesn't matter matter this is the 45 00:02:01,560 --> 00:02:04,079 task at 46 00:02:07,720 --> 00:02:12,120 hand a good editor is proficient is 47 00:02:12,120 --> 00:02:15,959 professional um is is willing 48 00:02:15,959 --> 00:02:18,760 hardworking um and um you know doesn't 49 00:02:18,760 --> 00:02:21,440 have a lot of ego is is is is willing to 50 00:02:21,440 --> 00:02:26,560 follow Direction um and uh um and you 51 00:02:26,560 --> 00:02:28,840 know and and and has and has good solid 52 00:02:28,840 --> 00:02:30,920 taste a great 53 00:02:30,920 --> 00:02:33,319 editor is somebody who has all of those 54 00:02:33,319 --> 00:02:35,239 qualities and 55 00:02:35,239 --> 00:02:39,120 yet can look at a scene in a slightly 56 00:02:39,120 --> 00:02:43,519 different way has superb taste and um a 57 00:02:43,519 --> 00:02:45,959 creative imagination 58 00:02:45,959 --> 00:02:50,440 that sort of inspires him or her to 59 00:02:50,440 --> 00:02:52,480 re-edit the scenes in ways that the 60 00:02:52,480 --> 00:02:54,040 director didn't 61 00:02:54,040 --> 00:02:56,760 present uh that weren't necessarily 62 00:02:56,760 --> 00:02:59,200 scripted in a in a particular way might 63 00:02:59,200 --> 00:03:02,360 reorder some of the dialogue might U you 64 00:03:02,360 --> 00:03:06,080 know structurally reshape things I I 65 00:03:06,080 --> 00:03:07,920 wouldn't want that to be the primary 66 00:03:07,920 --> 00:03:13,599 initial cut but I love it when an editor 67 00:03:13,599 --> 00:03:15,799 has the confidence to take some some 68 00:03:15,799 --> 00:03:18,599 sort of creative authorship over a scene 69 00:03:18,599 --> 00:03:21,319 and have it as an alternate version 70 00:03:21,319 --> 00:03:22,879 ultimately 71 00:03:22,879 --> 00:03:25,360 however editors are not the people who 72 00:03:25,360 --> 00:03:27,640 are supposed to Al to decide what the 73 00:03:27,640 --> 00:03:31,280 Final Cut is um whether the director has 74 00:03:31,280 --> 00:03:34,480 Final Cut in a contract or not uh you 75 00:03:34,480 --> 00:03:36,879 know I believe that the best 76 00:03:36,879 --> 00:03:40,599 films um benefit from you know this this 77 00:03:40,599 --> 00:03:41,680 sort of 78 00:03:41,680 --> 00:03:46,920 single um o over oversight and um and 79 00:03:46,920 --> 00:03:48,599 and that's the director but I work very 80 00:03:48,599 --> 00:03:50,640 closely with editors who are extremely 81 00:03:50,640 --> 00:03:52,640 talented and very creative and it's 82 00:03:52,640 --> 00:03:55,079 another one of those key collaborations 83 00:03:55,079 --> 00:03:59,040 that yields um a set of options and um 84 00:03:59,040 --> 00:04:00,480 and ultimately 85 00:04:00,480 --> 00:04:03,480 um it's you know it's my job to to 86 00:04:03,480 --> 00:04:08,439 choose the the the approach um same with 87 00:04:08,439 --> 00:04:11,879 you know Director of Photography um and 88 00:04:11,879 --> 00:04:14,200 uh and and all of these other categories 89 00:04:14,200 --> 00:04:15,959 yes they have a tremendous amount of 90 00:04:15,959 --> 00:04:19,479 autonomy and Authority but um they're 91 00:04:19,479 --> 00:04:24,360 all they're all reporting to uh the CEO 92 00:04:24,360 --> 00:04:27,930 of the movie and that's the director 93 00:04:27,930 --> 00:04:31,079 [Music] 94 00:04:32,560 --> 00:04:34,680 you and your editor assuming you are 95 00:04:34,680 --> 00:04:37,240 working with somebody in that capacity 96 00:04:37,240 --> 00:04:40,440 um need to have a conversation early on 97 00:04:40,440 --> 00:04:41,960 and the conversation needs to go 98 00:04:41,960 --> 00:04:46,160 something like this um Editor to the 99 00:04:46,160 --> 00:04:49,000 director um do you want to let me know 100 00:04:49,000 --> 00:04:51,120 which takes you liked the most or do you 101 00:04:51,120 --> 00:04:55,000 want me to watch the footage and make my 102 00:04:55,000 --> 00:04:58,360 own autonomous decisions the director's 103 00:04:58,360 --> 00:05:00,240 answer could be a or b 104 00:05:00,240 --> 00:05:04,440 a would be U no uh I'll tell you which 105 00:05:04,440 --> 00:05:06,400 takes that I like and I'll even give you 106 00:05:06,400 --> 00:05:08,120 a sense of how I think the scene should 107 00:05:08,120 --> 00:05:11,440 be um edited together either either I'll 108 00:05:11,440 --> 00:05:14,000 call you on the phone uh we'll watch the 109 00:05:14,000 --> 00:05:17,639 dailies together or I'll send you um you 110 00:05:17,639 --> 00:05:19,720 know a memo an email some 111 00:05:19,720 --> 00:05:23,919 notes or it could be B which is well I 112 00:05:23,919 --> 00:05:26,960 know how I think it should go together 113 00:05:26,960 --> 00:05:30,199 um or the options for the ways could go 114 00:05:30,199 --> 00:05:33,160 together um but why don't you creatively 115 00:05:33,160 --> 00:05:36,919 see what the scene says to you and try 116 00:05:36,919 --> 00:05:40,680 it because I I I've always got my plan 117 00:05:40,680 --> 00:05:43,039 that's not going anywhere and yet you 118 00:05:43,039 --> 00:05:45,560 may have a great new idea so that's that 119 00:05:45,560 --> 00:05:47,160 initial 120 00:05:47,160 --> 00:05:49,960 conversation um let's uh we'll assume 121 00:05:49,960 --> 00:05:52,720 that they picked uh 122 00:05:52,720 --> 00:05:56,199 um a you know follow the director's 123 00:05:56,199 --> 00:06:00,520 notes as best you can uh the the 124 00:06:00,520 --> 00:06:04,639 the it's a good idea for the editor and 125 00:06:04,639 --> 00:06:07,000 the director to meet whenever possible 126 00:06:07,000 --> 00:06:08,520 sometimes it's on the weekends sometimes 127 00:06:08,520 --> 00:06:12,240 it's after shooting uh sometimes it's it 128 00:06:12,240 --> 00:06:16,440 can be uh sent um you know uh over the 129 00:06:16,440 --> 00:06:19,560 Internet um and uh you can you can just 130 00:06:19,560 --> 00:06:21,880 download a scene or two and look at it 131 00:06:21,880 --> 00:06:22,720 so 132 00:06:22,720 --> 00:06:25,280 that the director learns a couple of 133 00:06:25,280 --> 00:06:28,000 things the director first learns that 134 00:06:28,000 --> 00:06:30,280 the scenes are coming together in a way 135 00:06:30,280 --> 00:06:35,000 that may not be exactly refined and um 136 00:06:35,000 --> 00:06:37,880 it may not uh include all the choices 137 00:06:37,880 --> 00:06:40,759 that the director has in mind but 138 00:06:40,759 --> 00:06:44,240 basically it looks good the actors you 139 00:06:44,240 --> 00:06:46,680 know feel right in their characters the 140 00:06:46,680 --> 00:06:50,400 approach is working it may reveal some 141 00:06:50,400 --> 00:06:52,960 disappointments and that will give the 142 00:06:52,960 --> 00:06:55,160 director a chance to analyze those come 143 00:06:55,160 --> 00:06:58,080 to terms with them and either make some 144 00:06:58,080 --> 00:07:01,360 adjustments or um you know or not but at 145 00:07:01,360 --> 00:07:03,160 least that's an opportunity before the 146 00:07:03,160 --> 00:07:05,520 whole movie is finished to to make some 147 00:07:05,520 --> 00:07:07,560 decisions so it's very important and 148 00:07:07,560 --> 00:07:10,440 helpful if the editor can be working 149 00:07:10,440 --> 00:07:14,280 quickly um right behind the principal of 150 00:07:14,280 --> 00:07:18,639 Photography and and sharing scenes uh 151 00:07:18,639 --> 00:07:20,830 with the director as soon as 152 00:07:20,830 --> 00:07:25,360 [Music] 153 00:07:25,840 --> 00:07:28,960 possible the editing style is often born 154 00:07:28,960 --> 00:07:32,319 out of of kind of nature of uh the 155 00:07:32,319 --> 00:07:35,440 central characters um and you're you're 156 00:07:35,440 --> 00:07:36,960 telling the story through these 157 00:07:36,960 --> 00:07:40,440 characters uh and uh so often they set a 158 00:07:40,440 --> 00:07:44,440 kind of a a feeling or a rhythm 159 00:07:44,440 --> 00:07:47,400 Cinderella Man was an interesting 160 00:07:47,400 --> 00:07:49,720 combination because on the one hand it's 161 00:07:49,720 --> 00:07:53,120 the depression it's a very 162 00:07:53,120 --> 00:07:54,720 humanistic 163 00:07:54,720 --> 00:07:58,360 honorable but uh everyday kind of a 164 00:07:58,360 --> 00:08:02,440 central hero Jim bradic and whenever we 165 00:08:02,440 --> 00:08:04,400 were in his world there was something 166 00:08:04,400 --> 00:08:07,400 about it that was modest it was it was 167 00:08:07,400 --> 00:08:11,039 um um harsh it 168 00:08:11,039 --> 00:08:14,039 reflected um you know his his lack of 169 00:08:14,039 --> 00:08:16,840 resources as a as a father and and a 170 00:08:16,840 --> 00:08:19,199 husband there and there was a and there 171 00:08:19,199 --> 00:08:21,479 was a kind of a simp Simplicity to it 172 00:08:21,479 --> 00:08:24,919 and a sense of pressure and um and and a 173 00:08:24,919 --> 00:08:28,639 bit of Darkness you know around him um 174 00:08:28,639 --> 00:08:31,960 usually with some warm light uh that 175 00:08:31,960 --> 00:08:33,760 they were you know kind of hovering 176 00:08:33,760 --> 00:08:37,320 around and the editing and the camera 177 00:08:37,320 --> 00:08:42,039 work um followed that with 178 00:08:42,039 --> 00:08:45,600 him in the ring he became a different 179 00:08:45,600 --> 00:08:48,120 person with a different objective and 180 00:08:48,120 --> 00:08:50,000 the intensity and the violence often 181 00:08:50,000 --> 00:08:52,040 suggested and demanded tight Cuts 182 00:08:52,040 --> 00:08:53,800 shortcuts 183 00:08:53,800 --> 00:08:56,680 explosions and that was the Paradox of 184 00:08:56,680 --> 00:08:59,720 Jim bradic is that he was a kind gentle 185 00:08:59,720 --> 00:09:04,160 honorable man um and away from the ring 186 00:09:04,160 --> 00:09:06,440 but when he was fighting for his family 187 00:09:06,440 --> 00:09:09,519 he would do anything uh to win if it was 188 00:09:09,519 --> 00:09:13,839 honorable he he was a uniquely um you 189 00:09:13,839 --> 00:09:16,640 know remarkably great guy and and 190 00:09:16,640 --> 00:09:17,760 principled 191 00:09:17,760 --> 00:09:20,800 Guy Frost 192 00:09:20,800 --> 00:09:23,399 Nixon has some similarities because 193 00:09:23,399 --> 00:09:27,000 there there is a kind of combat that and 194 00:09:27,000 --> 00:09:28,519 in fact Salvador Totino the 195 00:09:28,519 --> 00:09:29,920 cinematographer 196 00:09:29,920 --> 00:09:31,839 uh and Dan Hanley and Mike Hill the 197 00:09:31,839 --> 00:09:34,399 editors uh worked on both projects we 198 00:09:34,399 --> 00:09:36,160 were very open about the fact that some 199 00:09:36,160 --> 00:09:39,839 of the inter interview scenes needed to 200 00:09:39,839 --> 00:09:41,320 have that same kind of combative 201 00:09:41,320 --> 00:09:43,880 intensity and we should use some of the 202 00:09:43,880 --> 00:09:46,279 cutting patterns and some of the uh 203 00:09:46,279 --> 00:09:48,440 stylistic choices that we had used in 204 00:09:48,440 --> 00:09:50,279 Cinderella Man which we' made a couple 205 00:09:50,279 --> 00:09:52,880 you know four or five years before and 206 00:09:52,880 --> 00:09:55,600 uh so it was really fun and interesting 207 00:09:55,600 --> 00:09:58,720 to see how we could uh take this verbal 208 00:09:58,720 --> 00:10:02,519 combat and and um make it you know a 209 00:10:02,519 --> 00:10:05,480 little more visceral and intense for the 210 00:10:05,480 --> 00:10:07,600 for the uh for the audience and the 211 00:10:07,600 --> 00:10:10,240 shooting mattered but so did the editing 212 00:10:10,240 --> 00:10:13,120 and and so sometimes those scenes are 213 00:10:13,120 --> 00:10:15,680 cut in a way that's a little bit similar 214 00:10:15,680 --> 00:10:18,040 to some of the punch exchanges in 215 00:10:18,040 --> 00:10:22,160 Cinderella Man um the but away from 216 00:10:22,160 --> 00:10:24,399 those interview scenes Frost Nixon had a 217 00:10:24,399 --> 00:10:27,040 very different editorial Rhythm 218 00:10:27,040 --> 00:10:29,320 because David Frost was a complete 219 00:10:29,320 --> 00:10:33,279 completely different kind of uh of a 220 00:10:33,279 --> 00:10:37,399 protagonist um he was glamorous he was 221 00:10:37,399 --> 00:10:41,360 fast he was bright he was a sexier uh 222 00:10:41,360 --> 00:10:42,160 more 223 00:10:42,160 --> 00:10:45,440 kinetic uh environment that that he that 224 00:10:45,440 --> 00:10:48,639 he was in and so that suggested another 225 00:10:48,639 --> 00:10:51,639 kind of pace and another kind of editing 226 00:10:51,639 --> 00:10:53,800 Rhythm so I needed to have a sense of 227 00:10:53,800 --> 00:10:56,160 that in staging the scenes more camera 228 00:10:56,160 --> 00:11:00,200 movement shorter Cuts more variety 229 00:11:00,200 --> 00:11:03,040 um not using the same shot repeatedly or 230 00:11:03,040 --> 00:11:05,399 not staying in the same shot for a long 231 00:11:05,399 --> 00:11:07,720 time but having lots of cover coverage 232 00:11:07,720 --> 00:11:10,519 lots of angles and the editors saw that 233 00:11:10,519 --> 00:11:12,839 saw the way I was approaching it and 234 00:11:12,839 --> 00:11:14,440 understood the kind of pace that we were 235 00:11:14,440 --> 00:11:16,560 going for which was much more 236 00:11:16,560 --> 00:11:19,920 contemporary uh and uh um and and and 237 00:11:19,920 --> 00:11:23,519 just and just you know um paer um 238 00:11:23,519 --> 00:11:26,670 breathless almost in places 239 00:11:26,670 --> 00:11:31,880 [Music] 240 00:11:31,880 --> 00:11:32,880 Apollo 241 00:11:32,880 --> 00:11:37,839 13 was the most challenging uh editorial 242 00:11:37,839 --> 00:11:40,160 project that I've ever been involved 243 00:11:40,160 --> 00:11:42,000 with I believe and I and I've and I've 244 00:11:42,000 --> 00:11:43,839 been in some some very challenging ones 245 00:11:43,839 --> 00:11:46,360 Rush was a huge challenge Cinderella Man 246 00:11:46,360 --> 00:11:48,600 Big Challenge Backdraft very very 247 00:11:48,600 --> 00:11:50,959 challenging in its own way Frost Nixon 248 00:11:50,959 --> 00:11:53,639 very challenging uh 249 00:11:53,639 --> 00:11:57,040 but the nature of telling the story of 250 00:11:57,040 --> 00:12:01,240 Apollo 13 in an authentic way 251 00:12:01,360 --> 00:12:05,600 um suggested to me that I needed to look 252 00:12:05,600 --> 00:12:08,600 at the crisis from three different 253 00:12:08,600 --> 00:12:13,240 perspectives and each step along the way 254 00:12:13,240 --> 00:12:15,680 that the W that the 255 00:12:15,680 --> 00:12:18,760 suspense there needed to be sort of 256 00:12:18,760 --> 00:12:22,839 filtered through three different 257 00:12:22,839 --> 00:12:25,519 perspectives um the astronauts 258 00:12:25,519 --> 00:12:28,760 themselves the the mission control team 259 00:12:28,760 --> 00:12:30,440 who was trying to rescue them and do 260 00:12:30,440 --> 00:12:31,959 everything they could from thousands of 261 00:12:31,959 --> 00:12:36,199 miles away and the family at home that 262 00:12:36,199 --> 00:12:37,839 uh actually had communication with 263 00:12:37,839 --> 00:12:40,880 mission control and um no way to talk 264 00:12:40,880 --> 00:12:43,360 back but between what was on the 265 00:12:43,360 --> 00:12:45,480 television and what they were hearing 266 00:12:45,480 --> 00:12:48,720 over the NASA uh speaker was keeping 267 00:12:48,720 --> 00:12:50,639 them on the edge of their seat and 268 00:12:50,639 --> 00:12:55,720 emotionally um you know uh rought and so 269 00:12:55,720 --> 00:12:57,720 I fully 270 00:12:57,720 --> 00:13:00,040 shot every 271 00:13:00,040 --> 00:13:04,320 crisis point from all three vantages and 272 00:13:04,320 --> 00:13:06,079 it it was not until we reached the 273 00:13:06,079 --> 00:13:09,320 editing room that we began to focus the 274 00:13:09,320 --> 00:13:13,519 way in which we we were going to uh um 275 00:13:13,519 --> 00:13:16,000 you know sort of develop each of these 276 00:13:16,000 --> 00:13:18,480 crises and I wanted I I knew I wanted 277 00:13:18,480 --> 00:13:20,360 them to unfold in different ways from 278 00:13:20,360 --> 00:13:22,680 different perspectives so sometimes 279 00:13:22,680 --> 00:13:24,279 you'd feel it more from the family 280 00:13:24,279 --> 00:13:25,560 sometimes you'd feel it more from 281 00:13:25,560 --> 00:13:28,760 mission control and of course many times 282 00:13:28,760 --> 00:13:31,199 you know you you you'd want to be there 283 00:13:31,199 --> 00:13:33,760 alongside the astronauts well these were 284 00:13:33,760 --> 00:13:36,240 these were editorial decisions 285 00:13:36,240 --> 00:13:40,480 ultimately and it required um months of 286 00:13:40,480 --> 00:13:43,720 editing re-editing looking at scenes 287 00:13:43,720 --> 00:13:45,720 looking at entire sequences looking at 288 00:13:45,720 --> 00:13:50,959 entire movies and saying um taking notes 289 00:13:50,959 --> 00:13:53,120 while watching it and then having these 290 00:13:53,120 --> 00:13:55,720 long conversations and days and days of 291 00:13:55,720 --> 00:13:59,560 going through the film stopping and 292 00:13:59,560 --> 00:14:04,839 going and um um there were some scenes 293 00:14:04,839 --> 00:14:07,560 that were without any re-shooting 294 00:14:07,560 --> 00:14:12,560 were completely recut and re-engineered 295 00:14:12,560 --> 00:14:16,000 to reflect some other Insight we would 296 00:14:16,000 --> 00:14:18,920 literally do things like use one or two 297 00:14:18,920 --> 00:14:21,519 lines on camera and then record new 298 00:14:21,519 --> 00:14:25,000 dialogue to try to clarify some you know 299 00:14:25,000 --> 00:14:27,959 moment of tension and crisis and let 300 00:14:27,959 --> 00:14:29,759 that play over somebody's 301 00:14:29,759 --> 00:14:32,759 head or off camera or over in a wide 302 00:14:32,759 --> 00:14:34,360 shot where you you couldn't tell what 303 00:14:34,360 --> 00:14:36,800 the people were saying and we were able 304 00:14:36,800 --> 00:14:39,360 to invent scenes that ratcheted up the 305 00:14:39,360 --> 00:14:42,160 tension and made it more emotional and 306 00:14:42,160 --> 00:14:44,160 and um you know all of that is about 307 00:14:44,160 --> 00:14:46,680 discovering the possibilities of the of 308 00:14:46,680 --> 00:14:48,759 the footage you have of the material you 309 00:14:48,759 --> 00:14:51,279 have in the editing room by the time you 310 00:14:51,279 --> 00:14:53,440 see a scene back and forth a number of 311 00:14:53,440 --> 00:14:56,880 times and try um beginning in a 312 00:14:56,880 --> 00:14:58,440 different place or using a different 313 00:14:58,440 --> 00:15:00,360 shot to start than the one you that 314 00:15:00,360 --> 00:15:03,320 you'd initially planned uh ending at a 315 00:15:03,320 --> 00:15:05,880 different point because U uh one of the 316 00:15:05,880 --> 00:15:07,560 things that you're looking for of course 317 00:15:07,560 --> 00:15:11,160 is not just refining the elements of 318 00:15:11,160 --> 00:15:14,600 that scene to deliver its full potential 319 00:15:14,600 --> 00:15:16,680 but you also have to think about the 320 00:15:16,680 --> 00:15:18,680 scenes that precede it the scenes that 321 00:15:18,680 --> 00:15:21,880 follow it uh it's it's its meaning to 322 00:15:21,880 --> 00:15:25,000 the entire uh story when you when you 323 00:15:25,000 --> 00:15:27,680 recognize that a scene could could uh 324 00:15:27,680 --> 00:15:30,240 perhaps achieve more 325 00:15:30,240 --> 00:15:34,800 or you know be clearer or be more 326 00:15:34,800 --> 00:15:37,800 mysterious well that generally boils 327 00:15:37,800 --> 00:15:39,680 down to some kind of a of a re-editing 328 00:15:39,680 --> 00:15:42,720 to try to play with the shots and the 329 00:15:42,720 --> 00:15:45,360 footage to to create a different Rhythm 330 00:15:45,360 --> 00:15:48,600 and therefore a different feeling and a 331 00:15:48,600 --> 00:15:53,120 sort of a um you know a sort of a set of 332 00:15:53,120 --> 00:15:56,040 um of of of impulses or data that are 333 00:15:56,040 --> 00:15:58,399 that that are coming to the uh to the 334 00:15:58,399 --> 00:16:00,920 viewer