It’s one of cinÂeÂma’s greatÂest ironies that editÂing can make or break a film, but few movieÂgoÂers underÂstand what an ediÂtor actuÂalÂly does. EditÂing involves takÂing shots and assemÂbling them in the right order, yes, but what makes an order — all the tranÂsiÂtions from moment to moment and scene to scene — “right”? Even if we can’t explain good editÂing, we know bad editÂing when we see it, and even more so when when we feel it. The hard-to-pin-down senÂsaÂtion of a movie being “off” or “wrong” often comes out of incomÂpeÂtent editÂing, and by breakÂing down the bad editÂing in a variÂety of recent picÂtures, these three videos throw into conÂtrast what it takes for editÂing to be good.
Most of the nine “Movies that Were Ruined by RealÂly Bad EditÂing” in the LoopÂer video at the top of the post are part of high-proÂfile franÂchisÂes. GivÂen the size of their budÂgets and the imporÂtance of their box-office perÂforÂmance, you might think such films wouldÂn’t perÂmit techÂniÂcal slopÂpiÂness of any kind. Yet in Alien: Covenant everyÂthing hapÂpens in an order that kills the draÂmatÂic tenÂsion; the chaotÂic TakÂen 3, “a severe case of death by a thouÂsand cinÂeÂmatÂic cuts,” plays out “at the speed any othÂer movie would run if you acciÂdenÂtalÂly hit the fast-forÂward butÂton sevÂerÂal times”; TransÂformÂers: Age of ExtincÂtion goes heavy on the wrong scenes and “treats its robot aliens as a subÂplot”; and SuiÂcide Squad proÂvides an examÂple of “a stuÂdio pubÂlicly adverÂtisÂing a movie as one thing, panÂickÂing, then comÂpleteÂly reshapÂing the same film all inside of one franÂtic marÂketÂing blitz.”
“EditÂing is going down the crapÂper these days,” says FoldÂing Ideas host Dan Olson in his in-depth examÂiÂnaÂtion of SuiÂcide Squad’s incomÂpeÂtent cutÂting. “The editÂing was shockÂingÂly awful in every way,” he says, turnÂing it into a kind of negÂaÂtive showÂcase of the ediÂtor’s art: “I would seriÂousÂly advise anyÂone with an interÂest in the art of cinÂeÂmatÂic editÂing to do their own full autopÂsy to see just how much went wrong and plain old doesÂn’t work.” Olson points to examÂples of SuiÂcide Squad’s often inexÂplicÂaÂble choicÂes, such as fillÂing the first half of the film with hyperÂkiÂnetÂic charÂacÂter introÂducÂtions that play more like trailÂers, develÂopÂing charÂacÂters only to sudÂdenÂly drop them, losÂing track of the physÂiÂcal locaÂtions of charÂacÂters, and repeatÂedÂly abusÂing the Kuleshov Effect in a way that feels like the “cinÂeÂmatÂic equivÂaÂlent of putting the emphasis on the wrong syllable.”
But then, it would have been more of a surÂprise for a critÂiÂcal disÂasÂter like SuiÂcide Squad to have been well-editÂed. What about the FredÂdie MerÂcury biopic BohemiÂan RhapÂsody, which won an AcadÂeÂmy Award specifÂiÂcalÂly for its editÂing? Its recepÂtion of that parÂticÂuÂlar Oscar is interÂestÂing, says video essayÂist Thomas Flight, “because the movie conÂtains sevÂerÂal scenes that are masÂter classÂes in poor editÂing.” In one offendÂing sequence, “many of the cuts are unmoÂtiÂvatÂed,” which mean that the ediÂtor made them for no apparÂent reaÂson, at least none servÂing stoÂry or the draÂma. OthÂers “ignore spaÂtial conÂtiÂnuÂity,” which makes it difÂfiÂcult or imposÂsiÂble for the audiÂence to underÂstand who and what is supÂposed to be where. And “the pace is simÂply too fast,” meanÂing that the lengths of the shots are too short for the action: editÂing that suits a rock conÂcert doesÂn’t suit a conÂverÂsaÂtion.
Even viewÂers who othÂerÂwise enjoyed BohemiÂan RhapÂsody will have sensed someÂthing the matÂter with the cuts in the scene Flight highÂlights. But nobody could have a worse reacÂtion to it than John Ottman, the man who editÂed the film, and whose work has been credÂitÂed with makÂing (rather than furÂther breakÂing) the trouÂbled proÂducÂtion. As menÂtioned in March here on Open CulÂture, that parÂticÂuÂlar scene was cut not by Ottman but direcÂtor DexÂter FletchÂer, who came in to take BohemiÂan RhapÂsody’s reins after the deparÂture of Bryan Singer. “WhenÂevÂer I see it, I want to put a bag over my head,” Ottman told the WashÂingÂton Post. Most movieÂgoÂers don’t see editÂing when it’s good, only when it’s bad — but when it’s espeÂcialÂly bad, it makes ediÂtors themÂselves long for invisÂiÂbilÂiÂty.
RelatÂed ConÂtent:
The Dark Knight: AnatoÂmy of a Flawed Action Scene
Alfred Hitchcock’s 7‑Minute MasÂter Class on Film EditÂing
HitchÂcock on the Filmmaker’s EssenÂtial Tool: The Kuleshov Effect
A VisuÂal IntroÂducÂtion to SoviÂet MonÂtage TheÂoÂry: A RevÂoÂluÂtion in FilmÂmakÂing
BohemiÂan RhapÂsody’s Bad EditÂing: A BreakÂdown
Based in Seoul, ColÂin MarÂshall writes and broadÂcasts on cities, lanÂguage, and culÂture. His projects include the book The StateÂless City: a Walk through 21st-CenÂtuÂry Los AngeÂles and the video series The City in CinÂeÂma. FolÂlow him on TwitÂter at @colinmarshall or on FaceÂbook.
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