American Cinematographer - November 1990 - 78

Art of

Assembling Images

by Nora Lee
Tucked away in small dark rooms
around the world are filmmaking's

ing movies. And yet, it is one of the
most important. A good editor can

closely the editor and the cinema¬
tographer collaborate. Warner,
whose credits include Rocky III, 48
Hrs, Staying Alive, A Soldier's Story,
Running Man, and Driving Miss
Daisy (Oscar nomination), ex¬
plained how he sees the extremes.

make a mediocre film look better
and a good film look great. But

between a simple dialog movie and

great unsung heroes-film editors.
The editor's role is perhaps the least

glamorous and most solitary of the
all the crafts associated with mak¬

editor is constrained by the
images captured on the film by the
cinematographer. What kind of
relationship is there between the
editor-who assembles the images
and the director of photography
every

-

"There's a lot of difference
a

special effects movie. In an effects
Running Man, there's a

movie like

lot more interaction between the
editor and the cinematographer
than there is on a film like Driving
Miss Daisy. On an effects film you

shooting plates, blue

who lights and composes them?
Interviews with Richard
Marks and Mark Warner, two of

are

Hollywood's most gifted editors,

for the alignment of all these things.

-

screen,

different elements - and someone
in editorial is usually responsible

experience,
relationships with cinematogra¬
phers run the gamut. In part, the

If you are adding live action to ani¬
mation and a background plate, the

American

November 1990

revealed that in their

74

demands of the project dictate how

Cinematographer

only way to do that is to very care¬

fully choreograph it. The only way
to choreograph it is to have the
editor cut the sequence. Then, if
there are lighting problems or
blocking problems with the actors,
it's obvious.
"I

volved

on

was
very much in¬
the set with Running

Man, but I wasn't

on

the set at all

with Miss

Daisy. The cast and crew
were shooting in Atlanta and I was
cutting here in Los Angeles. The
director of Miss Daisy, Bruce
Beresford, was secure enough in
what he was doing that he didn't
feel he needed to see everything
assembled everyday. I met director
of photography Peter James after

they came back from Atlanta. Most
of the relationship I had with him
was in timing the film."
The type of project is im¬
portant, but the real key to the re-



American Cinematographer - November 1990

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