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[Music]

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I can't emphasize enough how valuable it

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is to to show your your your project to

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audiences who don't know anything about

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it they don't all have to be test

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audiences in um a multiplex with with um

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preview cards to fill out and

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questionnaires although I believe in

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that process but just as valuable is

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that screening with 10 friends if

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they're willing to really talk to you

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who have not seen the project before and

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you run run it start to finish you don't

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stop and afterwards you you know you you

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make yourself vulnerable tell me about

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my movie Let's you know what did you get

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out of it uh it's sometimes you have to

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read between the lines because of course

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they're going to be polite and kind to

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you so don't be too fooled by that uh

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you know anything other than a rave

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means that they have a little hint of

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criticism under there but what you need

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to begin to understand

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is what is this

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story

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communicating really how how are people

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feeling about it I know how they were

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supposed to feel

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well where is that consistent where is

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that being achieved

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where is it different if it's different

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is it better or not as good as I'd hoped

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it would be uh or is it some other idea

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altogether audiences receive these

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images and sounds in ways that are often

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very surprising Sometimes some somebody

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will say something you know some piece

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of

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exposition pretty much flat out and it's

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clear it's there but for some reason

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reason the audience isn't even hearing

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it so that creates a moment of confusion

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if that's happening you have to

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understand it and find another way to

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you know to say it again uh and or or

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clear out the sound and make sure people

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get it and it's you want to get to a

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very you want to go kind of macro and

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micro on your analysis of your project

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during the during the post- production

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period and be creative about the

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solutions because sometimes the concerns

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that an audience has really provokes you

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to look at the scene once and for all in

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a very original way and it sometimes

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suggests that you edit it um and

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approach it in a way that that is um you

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know sort of better than you ever would

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have dreamed of and more interesting and

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a more surprising approach less

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conventional um and and often the the

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the the most unconventional ideas come

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out of a need to try to uh either

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eliminate some problem get it out of the

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movie uh or reinforce some idea or some

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feeling that isn't quite being

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[Music]

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conveyed editing is a very personal

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thing on the one hand but it's

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also a period where some objectivity

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from Outsiders can really benefit you so

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there's a kind of a you know an

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intersection here between um feedback

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that you're getting not only from the

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editors uh but but uh you know the the

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people who are watching what it is

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you're you you know you've put together

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and and giving you some information some

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reaction um it's vitally important that

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you continue to

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understand the themes the ideas the

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story that you're trying to tell the

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thing that you believed in from the

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beginning and yet not cling to it what

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you want to begin to discover is well

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what what else it it either you know

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succeeds in saying or doesn't and yet

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possibly could

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say editing is a is a is a a process um

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of whittling down you know I mean I

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Michelangelo quote that uh you know the

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sculpture is always inside the marble

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you you you just have to find it Well

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the the movie or the TV show is there

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you have one added advantage and that is

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that if you can identify uh a big big

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new ideas or little tiny

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ideas um that you never thought of

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before you have a chance of going back

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and re-shooting or re-editing and adding

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voices adding dialogue and things like

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that to help support

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uh or even

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reinvent the you know the the the the

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nature of a scene and the impact that it

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has on the audience and the and the

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[Music]

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story the editing process is another

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period

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where going to movies and television

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shows that you like and watching them

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with the sound

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off um is very inspiring sometimes and

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really helps you um begin to

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understand where your scene or sequence

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or entire story maybe uh selling itself

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short letting itself down or where and

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where where somebody else has done a

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thing that is uh is you know is very

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powerful and compelling it may be Pace

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it may be Rhythm it may be the length of

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the cuts holding for a long time or

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going for a lot of very shortcuts these

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these these two things are these two

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ideas are very different and they they

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both speak to the audience in in in

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unique ways these are all things choices

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that we've all experienced as viewers

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and we've all had a reaction to and the

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question is again what's going to work

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best for this story this story that I

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love the story I want to tell uh and um

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you know it's not not not that uh it's

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not that daunting if you are willing to

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ask the question and if the answer is

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not clear to you you know seek an

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[Music]

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answer it can be very very discouraging

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even heartbreaking when you look at that

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first cut of of the of the the film or

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the television show um it's usually very

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long

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because the editors um whether you're

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editing yourself or somebody has come in

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to to edit with you or be the editor has

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you know has probably

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included everything that was interesting

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at all in what you shot and

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um 99.9 times out of 100 uh you know

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that's not going to be ready to put into

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the theaters or or or put on air yet uh

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you you're going to have to make some

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decisions about it and and often it's

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far far too long um that's okay although

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it's it's it's very difficult to watch

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something that's overly long and so you

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know on a gut level all any director

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really wants is just to put it together

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and have everybody say oh my God it's

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genius it's never happened to me I don't

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know anyone yet who has had that happen

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uh but you know maybe maybe you're the

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one maybe you're the one

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[Music]

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editing is the place where you you have

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to be brutally honest to yourself about

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what your film is and what it says um

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now you're never going to make that film

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that everybody 100% agrees uh Works in

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every way so again you're going to have

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to weigh options and make some choices

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but when you discern that there's a

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weakness

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and and that weakness is not

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fundamentally wired into baked into the

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thematics of the story it's it it just

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has to do with something that you could

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address editorially it's important to go

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ahead toss and turn talk to your editor

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talk to your producers talk to your

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friends and drill down on that and see

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if there's a way to open it up and

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rethink it and and perhaps solve the

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problem and um that is very unsettling

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work sometimes it undermines your

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confidence in certain ways but I've come

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to not despair but instead know that

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this is part of the process and uh and

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and and that there there's a great

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reason to overcome that Despair and

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pursue these Solutions because you can

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sometimes wind up with uh the moments

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that you're absolutely the proudest of

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it's unexpect expected it's not the way

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you planned it but the discovery is

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thrilling and you're very happy to have

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it in your film in this new um improved

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way