No Spoilers Episode 3: Point Blank, Lee Marvin & Hard Hitting Cuts.

Any Tom, Dick & Harriette can continuity cut, takes a master editor/filmmaker to edit in a variety of styles. I stumbled on this great piece of filmmaking as I was digging throught the crates (aka DVD collections) as I prepare to re-design my home office and update my gear. POINT BLANK directed by John Boorman, edited by Henry Berman.

I won't pretend to remember all the different style names from my Film Aestetics Class I took in the 90's but POINT BLANK uses a mixture of techniques that should be watched again and again.

There is what I call a time-matchcuts that break the timeline of the film, smash-cut flashbacks and a great opening title sequence that echoes the main characters mood, imagine being in the mind of an angry Lee Marvin. My Favorite is the Time shifted editing; using dialogue or sounds from other scenes that span the movie timeline. Hard to describe but It's that Steven Soderbergh Limey style like montage sequences (which he admitily inspired the style of The Limey; haven't seen that one, that is another one to watch again and again)

I think this is one of the hardest techniques since it's like pig latin of filmmaking. It's a variation on the film language. So, you have to teach the audience the new languge code with limited time without loosing them. It is not for the faint of heart because your playing with fire. If you do it and it fails you lost your audiences trust and probably their interest. Point Blank succeds in not loosing you, as it jumps around aggressively, very echoing the protagonist.

I know your saying, this movie or that movie does that even better but this was before non-linear editing, made on a movieola or a Steinbeck. Imagine editing Momento, Pulp Fiction, The Limey... I takes a cetain determination and coincidentaly a Lee Marvin like resolve to introduce this style of filmmaking in those technical conditions.

I won't say that it goes on for the whole movie because it is doesn't. It is mostly a conventionally edited movie with strong composition and great late '60s style. Which is reason enough to watch this movie. However, watching how this type of editing techniques being used is like watching a tight rope walker, juggling, without a net. Bold.

PS. I haven't done one of these in a while but I have a feeling that I will in the near future, things are changing around the "old Republic" aka Gorilla Productions...

Guidestones ep 29 Post BTS or Trust thy Editor

The Guidestones project has been a getting lots of great reviews. If you haven't checked it out. Join.
I give it my "Sopranos recommend", watch 3 epidosdes and if you hate it, stop watching. it's not for you.

My previous Blog post about the Guidestones postproduction got me some great verbal feedback (write something in the comments if you like this or hate it). People seemed to enjoy getting a behind the scenes look at the process. So, when I got an episode to post up on my reel I decided to go back through my notes and communications with the director about episode 35 (officially released as Episode 29 in the series) and give some more info on the Behind the scenes of a low budget post process, the story end of it anyways.

Because Jay Ferguson, the director/producer, was around the globe shooting, we used the email for notes/feedback. I would assemble and rough cut based on the script, try to sort out any tech or MIA footage with the post crew. Then post up a locked Vimeo version of my cuts for him to screen from wherever hotel/motel he was in the world. 

gs 35.1 from Anthony K Baird on Vimeo.

So, I initiated my search for Guidestones notes episode 35 (released as ep 29)... "nothing". Curious.

I am an email hoarder, so I went my backup email program that I use as a catch all/archive... "nothing". Well, technically not nothing. This email:

Date 17 April, 2011 8:32:27 PM EDT

"This is cool....toss some dramatic music in and we should see what happens....do we need a couple feet / blurry running shots? At the end?"
J

If anybody knows Jay, he isn't a man of few words. So, I looked at the early episode notes (ep. 1-8), to compare. There was lots of back and forth for the first 2 episodes but a significant falloff on volume after those episodes. The notes transformed or evolved into a more coach on the sidelines of a game style or even better it was more like a conductor of an orchestra; "Faster", "Slower", "Good". 

GS Ep 35.3 from Anthony K Baird on Vimeo.

At some point in the process most of my successful projects have had this type of relationship. Trust.

A good director/client after the "tonal" tweaks of the beginning starts conducting not micro managing a.k.a. "use this shot", "cut that head move out" , (insert your favorite post production cliche). They trust you to put forth the best shots, performance even reference music. Not Blind Trust but a confidence that your choices are valid.

I have been a little lucky and I realize now that I seek out that type off relationship and if my gut tells me that this is not going to be that type of situation. I walk away. And in all fairness, me and Jay have worked together for a while, so this type of Trusting collaboration happens a little earlier in the process. Or in this case, I can jump in as the process has already started. (see previous blog).

So, when you look at the evolution of the episodes cuts ,you don't see the obvious drastic changes in alternate cuts, but the more critical eye can see the subtle tweaks, push and pull in the story and pace. More importantly you still see that the essence of the episodes and its initial rough cut story. The tone is still in there (my responsibility on this project). The color on the walls of the house has changed but the support beams have not been touched.

A things that I thought were interesting: Final is 1 minute shorter than rough but pacing is the same, music tone changes feel of final scenes and reaction shots change interaction of characters (I think if you watch the series you'll get it). Here is the final episode.
 
 

GS S1e29 from Anthony K Baird on Vimeo.

As a filmmaker, I find this type of subtle comparison more helpful than the wacky scene that obviously doesn't work that was left on the cutting room floor (see Bill Paxton scene in Aliens). 

LSB Interviews Anthony K. Baird or Rantings of an Editor

My old friend Haig Armen, web maven and all around great designer has a media studio in Vancouver.
Last time I went to Vancouver to visit, he showed me his pretty sexy studio where his crew of mad web scientist do their craft. Way back when, we use to be roommates in Toronto and he introduced me to macs, adobe products and how PC's don't have to be clunky . Thanks.

Lift has recently started a cool podcast but as per usual they are not doing it the same boring "Charlie Rose" or 6 o'clock news style with a fake BG. When you check out the vidcast on the lift studios' site it takes over your screen in glorious MASSIVE FLASH. 

For some reason, probably because I always have strong opinions, he interviewed me via Skype.
Was nice to talk about Movies & Creative stuff with my old roomate. 

Subscribe to the podcast there is always a good creative conversation a-la Ted Talks.