The cutting edge : the magic of movie editing / Wendy Apple ; Starz Encore Entertainment presents a TCEP, Inc. production ; in association with The American Cinema Editors (ACE) ; co-produced by NHK, The BBC, and AVRO ; written by Mark Jonathan Harris. [grabación sonora]

By:

Apple, Wendy [, dir.]

Contributor(s):

Publication details: Estados Unidos : Warner Bros , 2005.Description: 1 DVD filmSubject(s):

PELÍCULAS -- DOCUMENTALES

DDC classification:

D791.43 A648c

Incomplete contents:

Bullitt's dynamic editing, highlighted by its twisting, squealing, hill-leaping chase sequence that leaves viewers whooping and woozy, earned a 1968 Best Film Editing Oscar and helped make the film an action classic. How do film editors work this kind of magic? This fascinating program lets you in on the secrets. "What makes a movie a movie is the editing," says Zach Staenberg, Academy Award-winning* editor of the Matrix trilogy. Closeups, flashbacks, parallel action, slow motion, juxtaposition of images - these are just a few tools that make clips from Birth of a Nation to Pulp Fiction, The Battleship Potemkin to Gladiator indelible. Narrated by Kathy Bates and with interviews of a who's who of contemporary directors and editors, The Cutting Edge: The Magic of Movie Editing is, shot for shot and frame after frame, reel magic.

Actors: - Kathy Bates - Zach Staenberg - Jodie Foster - Michael Tronick - Anthony MinghellaSummary: Editing is what makes film a film." That audacious statement is made at the beginning of this 2005 documentary about the art of film editing. After listening to many editors and directors, movie novices as well as cinephiles may agree. Kathy Bates narrates this whirlwind history of the art punctuated by dozens of scenes to illustrate the effect of film editing in heightening reality and making a visceral impact on the filmgoer. In fact, the profession seems to be run on "a gut feeling" whether it's clipping a few frames, or 20 minutes of the final act (which we learn happened with Lenny). James Cameron illustrates the importance of a frame as we see a scene from Terminator 2 with 1 frame out 24 missing (24 frames representing one second of film). Or as Quentin Tarantino states, "musicians have notes, editors have frames." It's fascinating to see how editing--the process of assembling the film after it's been shot--can save films, make performances better, and become the ultimate jigsaw puzzle. The last concept is demonstrated as we return time and again to the most well-known editor of the time, Walter Murch (Apocalypse Now, The English Patient), as he edits a few scenes from Cold Mountain in front of us. We see how he works with light, covers mistakes, and controls emotion. For those who wished for a sequel to the excellent documentary on cinematographers, Visions of Light (1993), here's the next step (although made by different folks including first-time director Wendy Apple). Now, anyone want to tackle art directors? --Doug Thomas

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Holdings
Item type	Current library	Collection	Call number	Copy number	Status	Date due	Barcode
Digital Video	Biblioteca Centro Cultural Gabriela Mistral	Audiovisuales DVD	D791.43 A648c 2005	c.1	Préstamo en Sala (Préstamo en Sala)		35628000033099

Directors of photography, John Bailey, Philip D. Schwartz.
Narrator, Kathy Bates.
Editor, Tim Tobin.
Music, Nic tenBroek.

Actors:
- Kathy Bates
- Zach Staenberg
- Jodie Foster
- Michael Tronick
- Anthony Minghella

Editing is what makes film a film." That audacious statement is made at the beginning of this 2005 documentary about the art of film editing. After listening to many editors and directors, movie novices as well as cinephiles may agree. Kathy Bates narrates this whirlwind history of the art punctuated by dozens of scenes to illustrate the effect of film editing in heightening reality and making a visceral impact on the filmgoer. In fact, the profession seems to be run on "a gut feeling" whether it's clipping a few frames, or 20 minutes of the final act (which we learn happened with Lenny). James Cameron illustrates the importance of a frame as we see a scene from Terminator 2 with 1 frame out 24 missing (24 frames representing one second of film). Or as Quentin Tarantino states, "musicians have notes, editors have frames." It's fascinating to see how editing--the process of assembling the film after it's been shot--can save films, make performances better, and become the ultimate jigsaw puzzle. The last concept is demonstrated as we return time and again to the most well-known editor of the time, Walter Murch (Apocalypse Now, The English Patient), as he edits a few scenes from Cold Mountain in front of us. We see how he works with light, covers mistakes, and controls emotion. For those who wished for a sequel to the excellent documentary on cinematographers, Visions of Light (1993), here's the next step (although made by different folks including first-time director Wendy Apple). Now, anyone want to tackle art directors? --Doug Thomas

Closed-captioned, Color, DVD, Subtitled, Widescreen, NTSC

Language: English (Dolby Digital 5.1)
Subtitles: English, Spanish, French.

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