Walter Murch's 6 editing rules:-
1. Emotion - Does the cut reflect what the editor believes the audience should be feeling at that moment? Is it emotionally true to the story and character arc?
2. Story - Does the cut advance the story?
3. Rhythm - Does the cut occur at a moment that is rhythmical correct and/or interesting?
4. Eye-trace - Does the cut pay respect to the location and movement of the audience’s focus of interest within the frame?
5. 2-Dimensional Place - Is the cut true to the 2D representation of the film world?
6. 3-Dimensional Space - Is the cut true to the physical/spatial relationships within the diegesis?
1. Never make a cut without
a positive reason “The only reason for using another cut is to improve
the scene.”
2. Whenever possible cut 'in movement' "Creating a ‘diversion’ of sorts … is also the principle at
work in the action cut." The goal is seamless, invisible, 'magical' editing.
This is not possible without the greatest command of timing; timing that comes
from an understanding of human perception and eye movement.
3. The fresh is preferable
to the stale 'In art, the obvious is a sin.' Edward Dmytryk suggests that if frames
must be added between shots, do so at the beginning of a fresh, new shot so
that the viewer accepts the lingering frames as part of exposition for a new
angle or shot.
4. All scenes should begin
and end with continuing action. "Subconsciously suggest to the viewer that he is
seeing a fragment of continuing life, not a staged scene with a visible
framework." In other words, enter after it started leave before it finishes.
5. Cut for proper values
rather than proper matches. "The film’s dramatic requirements should
always take precedence over the mere aesthetics of editing." Continuity is not
the most important aspect of editing.
6. Substance first – then
Form "Technical skill counts for nothing if it is used only to manufacture
films which have little to do with humanity."
Chase Scenes: Montage or Not?:-
Point Break:-
This on foot chase scene is possibly one of the greatest chase scenes of all filming history, the reason for this is because it works. The flow of the scene is to perfection, not over complicated, keeps constant tension and informs the audience of the distance between the two characters throughout.
The scene begins with a 'tussle' between our two characters. As one manages to break free of the fight, he begins to sprint away, this is when the music kicks in and us an audience realise instantly that what we are about to witness is a chase scene. As the runner comes around the corner, a long shot is used and he is running toward the camera, behind him appears the man chasing him, by using this shot we are able to see the distance between the two characters and get a vague idea of how close he is to being caught.
The two runners then sprint down a tight alley, a point of view shot is used by the chaser so we can once again see the distance between the two. Using a point of view shot during a chase scene can be really effective as we are put into the characters shoes, the movement of the camera really enables us to become engrossed in the scene.
Throughout the rest of the scene, the two characters are almost separated. We are shown clips of the man being chased running and jumping over obstacles and causing problems for the man chasing him, the shot would then cut to the man chasing him as we then watch him follow the same route and path in which the other man has just done. The use of this cutting back and forth constantly shows the audience that slowly but surely, the chaser is catching up.
So that both characters aren't entirely separated, one or two shots are once again used where the runner is sprinting and jumping over obstacles, and the camera merely turns to show the chaser behind him, long shots similar to the opening long shot are also used just to keep that sense of realism and distance within the scene, and not completely separate the two characters by using cuts.
All these different aspects used together create on overall, smooth flowing, seamless edit, it allows the scene to flow in a way in which the audience can really be drawn in and enjoy the scene. This chase scene is not a montage, it is not driven by the music, and I feel that is a must in terms of a montage.
