Building Scenes in Your Edit
Building scenes we talked a little bit about in the last section. Sometimes I'll try an experiment where I'll do a film and also I'm trying to be more veritae driven, and so sometimes I'll take the opposite approach and I will not build a film around the interviews. Sometimes I try the opposite approach, and I'll just build scenes, because I really really want these scenes to play out. And so if you do that first and then figure out well, what information now might need to contextualize this or lead into this or lead out of this? You'll find that your scenes are the ones that people completely forget they're watching a film. That's where something real is happening, and it connects to us, and we're totally on the ride. So if you're shooting something where you've really got a lot of cover, it's your own project, you've shot a lot of great scenes, I would flip order on how you edit, and I would build scenes first, because those are really going to be the meat of what you've got and to i...
dentify what's the climax of what you have, because hopefully you have a dramatic peak. So when you think about also the classic arc of the beginning, middle, end, the climax needs to be somewhere near the end, right? Because you want to accelerate from a climax to the end. So the narrative arc is not this. The narrative arc is more this, you know? If that makes sense, if my little pantomime here makes sense. By the time I'm building, building, and I'm getting attached, once I hit that pinnacle it's not like I'm going to now take the same amount of time to finish, because I've been building up. I've now kind of, so now I'm kind of going to accelerate the end of the film. So arc isn't quite the right term. And I don't know the geometry of what I just drew with my fingers, but you get the idea. So I would suggest if you have a lot of material and this is really going to be one of those rich, it's evolved, it's developed, you've shot over time, to be building those scenes and let the scenes speak for themselves and sing. And then think about, well, what would I need to know about this person to have that scene make sense? Or how do these scenes relate to one another so that you don't get stuck in the details of that interview you did? Because now what you can do is just cherry pick from the interview what lift it needs to do. What job does that interview need to do? So I think it's a reverse order. It's a more complex way to work. But what it does is it allows you to prioritize your scenes as having the value that they really have so that you're not cutting your scenes to fit the interview, right? So hopefully that makes sense. It is more complex, but also optimally it's the stuff. You got the stuff if you have scenes. Nobody's telling me what I need to know. I can experience the scene.