The relationship between directors and editors

viola larewnce
Editor Viola Lawrence (left) with actress Rita Hayworth (right) at Columbia Pictures editing Miss Sadie Thompson in 1953.

Editing was originally “a woman’s job.” It required a lot of patience and acute attention to detail and as gender stereotypes were pretty strong when filmmaking began, most production companies sought out women for the tedious task. They would sort through all the footage and work side-by-side with the directors to bring all the pieces together and create a movie.

For anyone that has ever edited a video, big or small, it can be a daunting task. Whether it is film or digital, people that work in post production have their work cut out for them. Literally. (Excuse the pun).

When celuloid film was used, it had to be developed and then pieces were literally cut with scissors and put back together on a reel side by side. Today most films are shot digitally and editing software mimics the old ways of editing and often uses traditional editing terminology, editors still say they are “in the cutting room” and so on.

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Editor Thelma Schoonmaker and Director Martin Scorsese are a perfect example of the relationship between and Editor and Director. Here they are editing Woodstock in 1969. Photo courtesy of Thelma Schoonmaker.

Editing is known a the second phase of directing and so it makes sense that directors tend to develop a close creative relationship with their editors that sometimes lasts throughout their careers. Both the editor and director need to be compatible and compliment each others styles. Oftentimes directors say that their editors know what they are thinking before they even know themselves.

This is an artistic collaboration so sometimes directors and editors don’t always agree on what should be cut or not. Editors often don’t go on set so that they aren’t influenced by how much time, effort and money was put into a particular shot or scene. For an editor, it’s simple: if it doesn’t fit, it will be cut. Directors can spend weeks on a scene so they can feel conflicted when an editor thinks it should be removed all together. In the end, both the director and editor want what’s best for the film so they need to know when to listen to the other’s opinion to find out how to get the film in its best state.

In the video below jump ahead to 3:21 – 4:02 to hear Spielberg talk about working with his editor, Verna Williams, on Jaws. She went on to win an Oscar for her work on this film.

A lot of famous directors have and editors they work with on all of their films, some other famous editing/directing duos that still work together today are Clint Eastwood and Joel Cox, Woody Allen and Alisa Lepselter, Tim Burton and Chris Lebenzon, Roman Polanski and Herve de Luze, David Cronenberg and Ronald Sanders and more. These editing/directing duos have stood the test of time and have made some great films together and will continue throughout their careers.

Unfortunately there are times when great collaborators are split up against their will. Such is the case of Sally Menke and Quentin Tarintino. Menke died from heat stroke in 2010 while hiking in California. The news was a shock to Tarintino and the people who were close to the famed editor. Tarintino’s directing style is very unique and his films are known for their non-linear editing style that was very ahead of its time. He is a self-proclaimed perfectionist and would have movies play in his head before he even shot them so finding the right match for his personality and directing style was not an easy job. Fortunately he found Menke and the two worked very well together in the time they had. Tarantino was said to be very devoted to his editor, he would sometimes get crew members to say hello to Menke in the camera so that months later she would come across it while editing and it would cheer her up as she worked.

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Editor Sally Menke with Director Quentin Tarintino. Menke and Tarintino started working together on his film Reservoir Dogs and all of Tarintino’s films following it until her untimely death in 2010. Tarantino has maintained that Menke remains his “only, truly genuine collaborator.”

To this day Tarintino still mourns the loss of his right-hand woman in the cutting room. His only film since her passing has been Django Unchained. At the moment he is writing for the series From Dusk Till Dawn and he is set to continue with Kill Bill Vol. 3 in the near future with another editor.

So there you have it! These are just a few examples of directors and editors who work together on various film productions. The next time you are watching a movie, take a look at the credits to see if you start to find pattens.

Price Breakdown of our Packages – What are you paying for?

What exactly are you paying for? It’s important to know the answer to this when paying for anything at all, so here is a list of what is factored in when pricing our packages.

Experience & Training: Experience and training go a long way. Things can (and do) go wrong when filming so it is best to have a professional that knows what he/she is doing when shooting your wedding. Hiring someone that has gone to film school and has worked in the film or wedding industry can go a long way. We had paid a lot of money for our training in film at the Prague Film School (one of Europe’s leading film schools) and are better off for it.

Creative Eye & Talent: When you pick a videographer you are paying for his/her unique creative eye and talent. This has to do with the product of what you are buying. If you wanted to you could certainly ask a member or a friend to film your wedding and you are free to do that but you are missing out on something we as a company hold in high regard and that is our talent. Video isn’t just about stacking a camera on a tripod and pressing record. We consider lighting, framing, angles, movement, emotion, sequencing, transitions and even who or what should be filmed at a specific time. We love what we do and it shows in our work and we are constantly working to better ourselves as videographers by being dedicated and innovative with our projects.

Time: This encompasses all pre production, shooting and post production. Post production in particular is a very lengthy and tedious process. Let’s just start by saying that this is no iMovie editing software and video editing is very different from photo editing. Little is known about editing video by those that don’t do it so it’s hard for people to know what exactly they pay for int the post production of a video. Editing video is extremely time consuming. For weddings, we have to watch all the footage gathered from a 12 or 14-hour day which can take anywhere from 3-10 hours depending on the number of cameras and the amount of footage we have shot. This footage must then be sorted and transcoded so that it can be imported into an editing program (this can take over 5-8 hours alone). The footage is then imported into the program and is then edited into multiple videos. The editing itself can be quite time consuming especially with sound editing. The sound must be synced from the external mic to the video and then each cut made will often needs its own sound adjusting as well as smoothing out between cuts so that there is not static sound between them. These videos are then exported (this can take anywhere from 10-40 mins per video (1 speech = 1 video), and then they are each transcoded which can take from 20 mins per video to an hour depending on the length. Finally, the videos are uploaded onto Google Drive to give them to our clients (or another medium) which can take another 20-50 mins per video. The whole process can take a while. So for a wedding video it is typically 4-5 days of straight post production and editing plus the 12-hour day of shooting. As you can see, time is definitely a factor in our prices as you are paying for a full week of work by a professional in the wedding and film industry.

Depreciation on Equipment: Camera equipment and Editing Software are very expensive and they both depreciate with time. For example, all cameras have a lifespan and their internal monitors can collect more dust with age which can show of on video and be VERY difficult to remove. It’s best to ensure you are using equipment that is top of the line at all times. The body of a “cheap” professional camera runs around $3,500 alone. Lenses are also costly, our cheapest lens is around $1,000 and our most expensive is $2,500. Batteries and memory cars which are $40-$150 each also depreciate. There are also steady cams (~$600 each), sound equipment ($1000 for a basic set of one wireless mic and a receiver), tripods ($200), sliders ($200) and many other items that all add up to the value of our equipment. Most videographers also use their own cars to get around on the wedding day and there is certainly depreciation on a car the more you drive it (especially on our roads in Newfoundland).

Professionalism: Unlike the “Creative Eye & Talent” listed above, this is the service aspect of hiring a videographer. You will be spending your entire day with this person, he/she will be around your entire friends and family and will be working with the photographers to ensure both of them get the shots they need. Professionalism is HUGE in this regard. You need someone you get along with that will work well with others and strive to do the best they can to give you their best work.

Costs of running a business (taxes, advertising, editing software, travel, storage space, time): Like any other business, we have costs associated in the day-to-day running of Tin Bird Productions Inc. We pay taxes, we spend money in advertising and will continue to do so in the future. Also editing software is very expensive and must be kept up to date. Data is also factored into our prices as we typically use just under a Terabyte of raw footage per wedding. Travel is also factored into our cost. We typically meet with clients before the wedding, we go to the rehearsal, then on the day of the wedding we travel around the city and sometimes outside of it for the ceremony, photos and reception. Sometimes we also pick up and drop off drives for our bigger packages that can’t be transferred online. We also spend a fair bit of time meeting and communicating with our clients as well as updating our website, Facebook Page and blog. All of these things are considered when building our packages and deciding prices.

So in conclusion, you are paying for all the above when you are hiring us. We have had a very successful start to our business and we look forward to that continuing into 2015! Have a great year everyone!! -Lian (Tin Bird Productions Inc.)