CHAPTER 34
GETTING TO FINE CUT AND PICTURE LOCK
After weeks or months of sustained editing and several rough-cut versions a debilitating familiarity sets in. You lose objectivity and the ability to make judgments on behalf of an audience. Every version begins to look the same, and all look too long. You have become obsessed with particular faults in your footage, and curing them seems overwhelming. Not unusually, you want to hang on to a sequence or a minor character that the editor and others think is redundant. These are your darlings, and you must kill them if the film is to be consistent and work well.
This disabling condition is most likely to overwhelm the hyphenate, the director-editor who has lived too closely and ...
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