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Choosing the Next Shot > Choosing the Next Shot - Pg. 267

different camera angle, switching to a different character, providing a reaction shot, and so on. Editors look for a motivating event that suggests where they should make the cut, too, such as a movement, a look, the end of the sentence, or the intrusion of an off-camera sound that makes us want to look somewhere else in the scene. The Power of Editing Choosing the Next Shot As you've read elsewhere in this book, the fnal piece of advice when it comes to choosing when and how to make a cut is this: Cut to a different shot. If you've been flming the husband, cut to the wife; if you've been in a closeup, cut to a medium or wide shot; if you've been showing someone looking off-camera, cut to what she's looking at. DV ETHICS The Internet Continuity-Screwup Database It's fne to say that the flm editor's job is to attempt continuity of picture, sound, direction, and so on throughout a movie. The trouble is, that's not nearly as easy as it sounds. Remem- ber that the editor works by piecing together individual clips from many different camera shots that may have been flmed on different days. When the production is as complicated as a Hollywood movie, where several different flm crews may be shooting simultaneously in different parts of the world, a few continuity errors are bound to slip in--and sometimes they're hilarious. Catching continuity errors in Hollywood movies has become a beloved pastime for thousands of movie fans. Premiere magazine, for example, carries a monthly feature called Gaffe Squad, in which readers point out continuity errors in popular commercial movies. An Internet search for flm continuity errors yields hundreds of Web sites dedicated to picking apart the movies. Among these, the Internet Movie Database Goofs page (http://us.imdb.com/Sections/Goofs--capitals count) is Ground Zero; it's probably the largest collection of viewer-submitted movie errors ever assembled. They run along these lines: Raiders of the Lost Ark: "During the frefght in Marion's bar, Indy's gun changes from a .38 revolver to the Colt .45, back to a .38, then back once again to a .45. This might be the reason that he is able to fre his gun seven times with every loading." Back to the Future: "When talking to George at the clothes- line, both of Marty's shirt pocket faps are out, but in the next shot one of them is tucked in." Pulp Fiction: "When young Butch is receiving the watch from the Army guy, the time changes twice as it is fipped over in his hand." Jurassic Park: "As the helicopter lands on the island, we get a nice overhead view of the landing area, featuring a waterfall and two Jeeps waiting to take the passengers to the visitors' center. But when we see the ground-level view of the helicopter landing in the next shot, we see the Jeeps backing up to the position they were already in three seconds earlier." Titanic: "When Capt. Smith orders, `Take her to sea, Mr. Murdoch--let's stretch her legs,' they're standing to the right of the wheelhouse looking forward with the sun coming from their left. When Murdoch walks into the wheelhouse to carry out the order, the sun's behind him." The Shining: "We see Jack Nicholson chop apart only one of the door's panels with his axe--and yet after we see him listen to the arrival of the Snow-Cat, both panels are chopped." In other words, making a perfect movie is almost impossible. Of course, as an increasingly experienced flm editor yourself, you already knew that. chapter10:professionaleditingtechniques 267