There is a rich history of culture in editing in Australia. The
Australian Screen Editors Guild has a great deal of information about
the progression, development and culture of our industry in our Editing
and Art of Editing
When planning to set up this site, the Executive Committee approached
a few of our Accredited members and asked them (in a sentence or two) to either
describe what editing is for them or
what they've learnt as an editor. This is what Fiona Strain ASE, Brian
Kavanagh ASE, Alexandre de Franceschi ASE and Mark Atkin ASE had to say:
Donít ever consider your first cut to be "the
one". It may be a great assembly but it is a rare thing that a first cut
through to the lock-off. Screen your cut to an audience - not just the
Director - because an audience is for whom the film is being made. It
may be the Producer, the DOP or your mum, it doesn't really matter. The
fact of presenting the film to other eyes puts you in a more critical
and objective frame of mind. Suddenly you realise that scene you spent
a week on is overlong & overindulgent, and oops, you forgot to set
up a character or critical part of the story. A screening can energise
you and help you make the film what it should be.
Fiona Strain A.S.E.
Know when not to intrude in the link between an actor's performance and
the audience - but also know when to intrude, and help or create that
Brian Kavanagh A.S.E.
Many years ago, when we were still cutting on film, I finished work as
an assistant with Spanish editor Eduardo Biurrun, one of the kindest
men I have ever met. In those days work was hard and the pay was low
(not that things have changed much). To palliate, an editor would work
on two jobs at the same time (one from 8.00 AM to 3.00 PM and the other
one from 3.00 PM to 8.00 PM, 6 days a week) with just 3 assistants. We
did everything ourselves, from syncing to track-lay, there were no
sound editors in those days. As I was living then, ready to edit my
first solo project, full of fear and youth, I thanked Eduardo for
everything he taught me (and he really taught me everything). He smiled
with his candid smile and said: "There is nothing to fear. Just
remember that the frame has 4 sprockets. Don't cut in-between and make
sure you keep the film in sync with your mag. The rest is entirely up
to you". He was right.
Alexandre de Franceschi A.S.E.
When I'm editing I need lots of time to talk to the director
about anything and everything. Once we understand each better the
work becomes more fluid and very little needs to be said.
Mark Atkin A.S.E.
Bibliography of Books on EditingThis is a useful list of books, extracted by Karen Pearlman