Where did April go? I miss one session and then there’s a long break … Easter and bank holiday bonanzas. This may explain a certain reluctance at the start of the session to get down to cutting the shorts. Emma shows a film: “Growing” – shot in black and white in East London by David Alexander – it won Time Out London Film Award in 2007. Synopsis: “A day in the life of three teenage boys, whose idle lifestyle of smoking, joking around and chasing girls, results in tragedy.” Emma chooses to watch this as a good example of montrer/cacher in terms of filming and narrative. The boys comment on original and effective cutaway details eg. light and wind catching on cobwebs…
We watch Rafal’s cut-in-progress and it occurs to me that the word cut – so frequently in use in this context – seems very much at odds with the flowing content of this particular edit, the mental processes at work and then the final edited product.
After some chat and a certain overcoming of inertia the boys get down to re-familiarising themselves with the work they’d already begun in previous sessions. I film some of them at work and it’s interesting to hear their running commentary whilst editing. Medhi is particularly happy to do this and starts off with all manner of negativity about computers in general, editing as a chore, personal dissatisfaction with anything he produces and a general lack of confidence and then winds up at the end of the session being happy to offer his version up for public viewing. The video clearly shows him gradually slipping over into ‘the zone”… maybe – as more of an actor than an editor – he needed to be in front of the camera to do this.
Medhi ends up working quite quickly on his cut because next week he wants to direct and shoot the “Making of” short that will introduce their final piece in Paris. Milo is ever mindful of the quality of their selected cut and how it will compare with the rest of the entries. He raises how little time they had to come up with their story and is concerned about the idea of a French person coming along and telling him how it could have been better.
Tomas – who has never been keen on being filmed or photographed – announces: “You can film me now!” and so I do, while his rushes are downloading. We talk about what sound he might add to his film at certain dramatic moments and he suggests some high pitch sounds. We talk about Hitchcock in this respect.
Garageband is a hit with those who’ve got onto sound editing and Rafal in particular has track after track of music, effects, ducking and atmospherics. Excellent stuff, though maybe needs to tone down the repetitive techno in places. I think they may come in next week on a roll – no chat – let’s just get on with it.