So here I am, back in London to come to terms with what I’ve done. Meantime Jill Bilcock has done an assembly (which means she has strung everything together in sme sort of linear way in order for the film to make sense …
… the people at Working title (the producers) have seen the aasembly in my absence. I decided to spend mre time in India (it was so exciting !), that I got back a week later.
So what do we (the editor and I) need to do now ? I should have sat down and viewed the whole film in the theatre, but I know myslef. I started to watch the first two reels and my head was about to explode with ideas. So I stopped and much to Jill’s delight i walked straight into the cutting room and said “lets start cutting”. Forget the assembly.
What do I look for when we cut ?
a. that there is a point of view to every cut, to every scene
b. that where ever the film is going, there is an emotional undertow to the telling of the story
c. that there is more information than u can comprehend the first time you see the film, and there is strong subtext,
I am asking Billy, Jill’s first nw to keep a diary of the post production process, and he will try and answer any questions u may have. I will come in now and again,
thanks fr the visits and I hope to keep this as interesting as it was during the production of the film,