The Eye is Quicker Page 18

  dramatic irony, 88, 89, 122-124, 146, 187

  driving force, 148

  Duras, Marguerite, 154

  duration. See time

  Dusty Film Festival, 122

  DVD, 210

  E

  Echoes, 202, 203

  editorial sync, 201. See also printer’s sync

  Einstein, Albert, 100, 108-110

  Eisenstein, Sergei, 27, 28, 48, 140, 154, 230

  emotional attachments, 65, 113

  emotional time/duration, 36, 37, 105. See also time/duration; structuring time

  episodic, 218, 224

  Europea de Cinema de Barcelona, 135

  exposition, 86, 92, 157, 158, 217

  extended cut, 9-11, 14. See also overlapping action; protracted action

  F

  false value, 146

  Fargo, 86, 87, 145-147

  FBI, 102, 186

  Film Comment, xviii

  film lab, 144. See also lab

  Final Cut Pro (FCP), 217, 228. See also Avid; Computer; Digital Technology; and Lightworks

  first names, 157, 158

  Flatbed, 34. See also Steenbeek

  formal balance, 183

  400 Blows, The, 70, 105

  focal point, 10-11, 15,16, 18-21, 23, 31, 126, 198, 209

  frames, 14-16, 18, 21, 23, 26, 28, 29, 31, 36, 37, 55, 68, 83, 196, 103, 104, 108, 125, 126, 136, 164, 197, 200, 201, 209

  French Connection, The, 21, 55, 56, 63, 74, 75, 77, 167, 184

  Funahashi, Atsushi, 203

  G

  Gangs of New York, xvii

  genetics, 182, 209

  George, Chief Dan, 19, 20, 21

  Godard, Jean-Luc, 81

  Graham, Chris, 84

  Guidi, Chris, 29

  H

  Harbeke, Sabine, 188, 189

  Hicks, Shawn, 29

  Hirsch, Paul, 220

  Hirsch, Tina, 227

  Hoffman, Dustin, 19

  Howdy Doody Show, 122

  Huston, John, 14-15

  I

  image(s), 59, 74, 95, 97, 111, 139, 145, 154, 155, 157, 160, 164, 198, 200-202, 208, 209, 230, 231. See also juxtaposed images

  imbalanced blur, 8. See also blur

  improvising, 211

  inflection, 2, 44, 145, 146, 165, 178, 222, 224

  insert. See cut away

  insights, 89

  inspired, 182, 214

  instincts, xiii

  integrity, 6, 130, 168

  interlock screening, 201

  interpreter, 230

  In The Blink Of An Eye: A Perspective On Film Editing, 34. See also Murch, Walter

  intuition, 122, 209, 229

  intercutting, 66, 68, 70, 71, 97, 159, 160, 187

  interruption, 165, 176, 177

  integrating, 38, 44, 60, 94,150,151,166,183-186,191, 218. See also beats; codes

  invisible cut, 6, 12

  Iris, 78

  J

  Jack Murphy, 28-30

  Jefferson, Thomas, 158

  jigsaw puzzle, 127, 144

  Joe Gould’s Secret, 95, 96

  John, Elton, 49

  juxtaposed images, 4, 23, 29, 48-50, 55, 57, 66, 70, 71, 74, 83, 102, 154, 166, 194, 202, 208, 212. See also images

  Joubert, Joseph, 91

  Joy Luck Club, The, 156,158

  June, 188-190, 194, 199, 200, 217, 218

  K

  Keillor, Garrison, 83

  Kennedy Airport, 36

  Kelleran, John, 53

  key elements, 90, 93

  Kierkegaard, Søren, 76

  know-how, xiii, xv

  Kress, Harold, 129

  Kubrick, Stanley, 122

  L

  lab, 144. See also film lab

  labeling, 45, 194, 201

  Laurel Canyon, 79

  Law & Order, 162, 163, 183, 184

  laziness, 220

  Leaving Las Vegas, 174, 176

  Lee, Fanny, 53

  lens 209

  life-affirming, 204

  Life Before Me, 83, 84, 157

  Lightworks, 229. See also Avid; computer; digital technology; Final Cut Pro

  limerick, 184, 185

  Lindgren, Ernest, 25

  Lionnet, Leonard, 208

  literary form, 155

  literature, 154

  Little Big Man, 9, 19, 20, 22

  Littenberg, Susan, xvii

  Littleton, Carol, 65

  LoBrutto, Vincent, 165. See also Selected Takes: Editors On Editing

  Logan Airport, 222

  Loneliness Of The Long Distance Runner, The, 97, 169

  Lottman, Evan, 215

  Lumet, Sidney, 208, 209, 212, 217

  M

  Madison Avenue, 50, 228

  magic, 3, 4, 28, 108, 171, 211

  Mamet, David, 48, 83, 172. See also On Directing Film

  Marseilles, 74

  matching, 14, 15, 17-20, 22-24, 26, 27, 35, 38, 69, 196, 200, 209

  McKay, Craig, 122

  metronome, 214

  Midnight Family Dinner, 177-179, 204

  mindful response, 8, 10, 68

  Mingus, Charlie, xv

  monologues, 160

  montage, 48, 49, 93, 140, 154

  MOS. See silent picture

  Moviola, 34, 136

  MTV, 3

  Murch, Walter, 34, 70, 182, 191, 217. See also In The Blink Of An Eye: A Perspective On Film Editing

  Music, 66, 202, 207-209, 224

  Musical Eye, The: A Guide To Music For Filmmakers, 208. See also Lionnet, Leonard

  N

  narration, 66, 154, 157, 158. See also voiceover

  National Geographic, 50

  New York City, 92, 102, 173, 178, 216, 222

  New York Daily News, 3

  Nilsson, Rob, 171

  non-destructive, 228

  nonlinear, xv, 229

  Novocaine, 158

  novel, 154

  Nowhere, Now Here, 17, 212, 213

  0

  observation, 167

  On Directing Film, 48, 83. See also Mamet, David

  180 degree rule, 100, 110, 111, 113-116, 120, 126

  On Film Editing, xiii, 28, 48, 93. See also Dmytryk, Ed

  Old And The New, The, 28, 140, 230

  Olivé-Bellês, Nûria, 17, 135, 136

  optical effects, 40, 229, 230

  optical house, 144

  O’Steen, Sam, xiv, 13, 83

  outtakes, 135, 141, 213

  overlapping action, 26-28. See also extended cut; protracted action

  P

  pacing, 2, 68, 160, 196, 208, 209

  Painter, The, 52-55

  Pajari, Sako, 17

  parallel editing, 66, 67, 74, 77-79

  participation, 167

  Pascali’s Island, 30, 39, 40, 61-63, 174

  Pater, Walter, 207

  performance, 45, 160, 164, 168, 178, 194, 196, 203, 225, 231. See also acting

  phrases, 158, 178, 197, 198

  physical action, 58, 60, 115, 116, 167, 182-185, 190, 191, 210

  physical life, 115, 116, 167, 182, 185, 190, 191

  pictured words, 104

  place, 49, 74, 76, 77, 93-97, 111, 158, 182, 190, 194

  presentation, 83, 87, 88, 105, 113, 114, 120, 149, 231

  printer’s sync, 201. See also editorial sync

  production designer, 230

  projector, 201, 202, 208

  proscenium, 120

  protagonist, 17, 18, 77, 79, 93

  protracted action, 26, 30. See also extended cut; overlapping action

  Pudovkin, V.l., 5, 154

  Q

  questions, 87, 130, 163, 172-177, 179, 204, 209, 212, 213, 218, 220, 228, 229

  R

  radio, 154

  reactions, 37, 38, 150, 160-162, 167-169, 176, 177, 179, 191, 194, 198, 204. See also double reactions

  real-life associations, 37, 134, 157, 194, 202

  real world experiences, 130

  Reds, 211

  re
dundancy, 155, 165, 186-188, 190, 218

  Reed, Jack, 211

  Rembrandt, 216

  rhythm, 23, 35, 36, 45, 104, 135, 147, 160, 165, 172, 177, 179, 196, 203, 208-214,

  roomtone, 29. See also silence; ambient sound

  Rosemary’s Baby, 38, 39, 137-140

  rough cut, 66, 166

  rushes. See dailies

  S

  Schoonmaker, Thelma, xvii

  School of Visual Arts (SVA), xiv, 2, 122, 135, 162, 188, 202, 228

  Scorsese, Martin, xvii

  screenplay, 35, 56, 90, 92, 93, 97, 100, 103, 106-108, 135, 144, 148, 149

  screenwriter. See screenplay

  script, 84, 92, 108, 134, 135, 139, 158, 212

  Sculpting In Time, 34. See also Tarkovsky

  segue, 211

  Selected Takes: Editors On Editing, 165. See also Lobrutto, Vincent

  selected takes, 34, 45, 66, 67

  sequence, 14, 39, 41, 42, 90, 100, 108, 122, 130, 132, 156, 172, 174, 190, 191, 194, 202, 208, 209, 217, 218, 221-225

  Serpico, 22, 23, 68, 69, 84-86, 161, 173, 194-196

  set-ups, 14, 15, 19, 28, 57, 58, 100, 112, 164, 179

  sex, lies, and videotape, 76

  Shaw, George Bernard, 121

  Shimokawa, Akira, 178

  shutter, 201, 202

  Sight & Sound, xvii

  silence, 29. See also ambient sound; roomtone

  silent film era, 208

  silent picture (MOS) 66, 67, 71, 141, 160, 166

  Singer, Isaac Bashevis, 47

  sound effects, 66, 88, 95, 104, 154, 164-167, 197, 198, 200-202, 204, 205, 214, 224

  sour note, 210

  Spitfire Grill, The, 158

  Stanislavsky, Konstantin, 35

  Stein, Gertrude, 174, 179, 210

  Stern, Isaac, xiv

  Steenbeck, 34, 228

  Stoppard, Tom, 88

  story, 49, 76, 79, 82, 86, 90, 93-97, 102, 123, 130, 132, 136, 140, 144, 154, 155, 157, 176, 182, 186, 190

  storyshowing. See storytelling

  storytelling, 2, 12, 76, 82-84, 87, 88, 92, 93, 95, 100, 103-105, 123, 130, 154, 155, 173, 214

  Straight Story, 95, 96

  Strike, 27, 28, 79

  structure, 2, 26-31, 108, 130, 133, 135, 176, 194, 208, 218, 219, 222;

  perceptible/imperceptible 26-31;

  protracted action, 26, 30;

  structuring time, 104. See also time/duration; emotional time/duration

  students, 4, 15, 28, 50, 51, 53, 66, 67, 83, 90, 100, 105, 110, 113, 130, 135, 136, 177, 188, 189, 194, 210, 211, 220, 228

  subtext, 44, 45, 147, 166, 169, 172, 177, 179, 209, 210, 212-214

  subtitle, 156

  Sullivan, Ed, 3-4

  Sweet Hereafter, The, 77, 78, 125, 159

  symphonies, 208

  synchronized sound, 2, 22, 66, 69, 135, 136, 164-166, 183, 194-202, 204, 208, 211, 214

  T

  tape, 210. See also VHS

  Tarkovsky, Andrei, 34, 225

  Taubin, Amy, xviii

  Taxi Driver, xviii

  teaching, xiii, xiv, xv, xvii, 35, 66, 82, 91, 92, 136, 144, 228, 231

  television, 3, 50, 230

  tempo, 208, 209

  terminology, 92

  Texaco Star Theatre, 3

  theatre, 37, 38, 92, 120, 149, 150, 154, 160, 178, 185, 196, 201, 208, 225

  theory, xv, xvii, 22, 124, 182, 208

  three dimensions, 10, 100, 111, 113, 114, 120

  time, 33, 36-38, 41, 76-79, 95, 96, 100-102, 106, 108, 150, 158, 174, 194, 209, 224, 229, 231. See also emotional time/duration; structuring time

  time left out, 103

  timeline, 229

  titles, 66, 104, 229. See also credits

  Toklas, Alice B., 174

  tools, x, 34, 35, 228-231. See also Avid; computer; digital technology; Lightworks; Moviola; Steenbeek

  Touch, 135, 136, 140, 141

  Treasure of the Sierra Madre, The, 120

  trial, 174

  Trip to Bountiful, The, 51-53, 57-59, 166

  Truffaut, Francois, 70

  two dimensions, 14, 111

  V

  vanishing point perspective, 110

  VCR, 6, 100, 154

  Verdict, The, 26, 27, 40, 41, 89, 92, 115-119, 125, 173, 197, 198, 221-223

  vernacular, 213

  VHS, 48, 154. See also tape

  video, 26, 200, 201

  Virgin Spring, The, 123, 159

  visual logic, 50-52, 54-59, 61-64, 108, 113, 125, 187, 210, 212

  voiceover, 66, 76, 135, 145, 154-157. See also narration

  Vu, Bao, 105

  W

  Welles, Orson, 217

  Widmer, Ted, 228

  wild sound, 66

  Witness, 102-104, 130-134, 137, 187, 214, 223, 224

  writers, 216, 230. See also screenwriters

  Z

  Zaka, Zohra, 17

  zoom, 93, 94, 96