C H A P T E R 4 0


Once you know the finer points of your editing software, you can take one sequence at a time and make each sequence and all its coverage yield what it’s capable of giving. Here are some general principles that can help your editing seem natural and inevitable.


As we established in Chapter 4, “A Director’s Screen Grammar,” we cut between speakers in a dialogue scene based on whatever would make an observer shift his attention. Watch how eye contact and eye-line shifts function in real life, for these are the outward signs of shifting attention. Edit according to eye-line changes, and you’ll be working from human behavior rather than disembodied theory. The vet-eran ...

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