6/7/2023 0 Comments Fireside plainviewIt’s got a great look and the story shows the Coens at their best, with homages to The Wizard of Oz and Homer’s epic poem, The Odyssey. This film is credited with starting the move to DI finishing, thanks to DP Roger Deakins. It’s a very romantic and surrealistic tale that will keep you enthralled until the end.įilm editors: Joel and Ethan Coen (credited as Roderick Jaynes), Tricia Cooke It was shot in Romania and is highlighted by some gorgeous cinematography (Mihai Malaimare, Jr.) and a very evocative score (Osvaldo Golijov). Plus a really cool car chase scene with Minis! You’ll notice the deft editing Christopher Rouse ( The Bourne Ultimatum) brings to the movie. It’s a nicely crafted caper flick without many flaws. This 2003 remake probably didn’t make many “best lists”, but I enjoyed the film. ![]() It’s all the more helped by the believability Matt Damon brings to the role.įilm editors: Richard Francis-Bruce and Christopher Rouse Nevertheless, the films are a fast ride for the audience and exemplify good, fast-paced cutting. Not something that bothers me in the least. The main criticism leveled by others is the shaky-cam style of shooting and the frenetic ADD cutting. The Bourne Ultimatum (or Supremacy or Identity )ĭirectors: Paul Greengrass and Doug Limanįilm editors: Christopher Rouse, Richard Person and Saar Klein Dump a bushel basket of disjointed combat footage on the editor and see what you get. It’s also a movie that I feel was largely built in the edit bay. Scott’s film about the horrific events in Mogadishu is a seminal war film – representative of the surrealism of conflict in ways that a film like Apocalypse Now could never do justice to. Natural rivalries develop and this story is a blast for anyone who loves films about sports and sports personalities. It was shot with a variety of DV cameras, but the editing pace makes that something you’ll never obsess over. In this story about paraplegic rugby, the participants are like gladiators in wheelchairs. I enjoy documentaries, but they don’t get any better than when the actual events take plot turns as if they were scripted. The editing helps to move the story along, aiding the matter of fact way in which the story is told by its characters.ĭirectors: Henry Alex Rubin and Dana Adam Shapiroįilm editors: Conor O’Neill and Geoffrey Richman The aging VFX are the hook, of course, but they work well in service of the story. ![]() Slumdog Millionaire beat it out for best cinematography, but nevertheless, Button is a gorgeous example of how digital films can look (cinematography by Claudio Miranda). Although you’d think the scene construction is a contrivance developed in the cutting room, Dorn is the first to admit that this was actually how the script was written. In fact, there’s a DVD version that lets you run the scenes from back-to-front in a somewhat linear, chronological order. This quirky film is best known for the way the plot is revealed in reverse. Pay attention to the dialogue scenes and you’ll agree that Tarantino is probably the best director today in structuring and directing dialogue-driven films. Tarantino draws a lot of opinions, but it’s clear that his approach to shooting and editing uses a very classic style. This is the newest film in the batch and I found it to be not only well-crafted, but also beautifully shot (cinematography by Robert Richardson). They are presented in no particular order, so I hope you enjoy. These aren’t all Oscar-contenders, although there’s plenty of bling in this list. With Oscar time approaching and movie-going, as well as, movie-giving a holiday tradition for many families, I decided to post a list of some films that are fun for editors to watch.
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