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$106.48. As low as $10/mo with. Learn how. Price when purchased online. 1465 seller reviews. About this item. Product details. Interviews with 21 prominent feature film editors highlight this long-overdue look at the role of film editors, the importance of their work, and the nature of their craft.
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- Blink of An Eye by Walter Murch
- The Film Sense and Film Form by Sergei Eisenstein
- On Film Editing by Edward Dmytryk
- Cut to The Chase by Sam O’Steen
- Cutting Rhythms: Intuitive Film Editing by Karen Pearlman
- Fine Cuts: The Art of European Film Editing by Roger Crittenden
- The Lean Forward Moment by Norm Hollyn
- Edit Better by Jeff Bartsch
- Art of The Cut: Conversations with Film and TV Editors by Steve Hullfish
- The Practical Guide to Documentary Editing by Sam Billinge
If you’re going to read just one book on editing, this is the book. Walter Murch explains his practical theories about cutting and why continuity is so unimportant. Murch also deconstructs editing into rhythms and patterns based on our natural visual pauses: blinking. Murch approaches the book with a mixture of stories and practical thought, cuttin...
This book itself is a mix of information from a man who was a theorist and filmmaker. Eisenstein was one of the early filmmaking pioneers—his writing about filmmaking helped explain what he was trying to do. It has his thoughts and theories about the value of montage style cuttingand how it handles the rhythm, sound, and the juxtaposition of images...
Before Edward Dmytryk directed films like The Caine Mutiny (1954), Give us this Day (1949), or Crossfire(1947), he was a film editor. This 1984 film editing book is still used by film schools (albeit skipping the technical parts specific to physical film cutting). Dmytryk has seven basic rules of cutting: 1. Never make a cut without a positive reas...
Sam O’Steen, the editor of films such as The Graduate (1967), Chinatown(1974), and dozens of other well-regarded films, details the process behind many landmark films and behind-the-scenes stories. O’Steen writes about the process of working on these films, but with some specific insights, such as what makes particular sequences work. In a Q&A form...
Cutting Rhythmsoffers an in-depth study of the film editor’s rhythmic creativity and intuition. Pearlman’s book explains the philosophy of developing intuition about cutting (not to be confused with instinct) with explorations of timing and pacing analogous to choreography. Rather than offering a rigid set of rules/structures, Pearlman focuses more...
Roger Crittenden reveals the experiences of many of the most outstanding European film editors through interviews that offer insight into the art of editing, direct from masters of the craft. Here Crittenden interviews the editors for Truffaut (Agnes Guillemot), Bergman (Sylvia Ingemarsson), Kubrick (Tony Lawson), and more. Since the interviews are...
Norm Hollyn led the editing department at USC for over a decade, cutting films like Sophie’s Choice (1982), Cotton Club (1984), and Heathers(1988). This book, from a master professor and professional editor, is a deconstruction of the entire film process, from breaking down each scene (and its purpose) to the various pieces that construct a film. H...
Bartsch teaches how to edit better by explaining elements often neglected in the edit suite. A blend of communication theory, marketing, behavioral psychology, neuroscience, and nuts-and-bolts details of editing application from years of experience in Hollywood. A quote stands out: “The best editorial tactics in the world are useless without the ri...
This book is a series of interviews with over fifty top editors from around the globe, each distilled into cohesive insights about story and editorial. The book is broken up into sections, each giving multiple perspectives. Sections on project organization approach to a scene, pacing, structure, and more. There are portions on breaking into the ind...
Targeted directly at documentary editors, Sam Billinge, explores project organization, assembling rushes, sequence editing, story structure, music, and sound design, and the defining relationship between editor and director. It covers real-world items like organizing strategies and handling client review sessions, to deeper editorial issues like de...
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