There's a lot of familiarity in the sets and design queues...

At least A T-J broke stereotypes by marrying a much older woman. And he even added to his surname for her.

Going to see Perfect Days again on Friday. I think it's a film worth seeing at least twice.

In other news, my 14 year old granddaughter was explaining steampunk to me. I let her explain because that's what grandfathers do.

Finally, I need to show my film class a movie to demonstrate editing. I'm thinking of Strangers on a Train or Silence of the Lambs. Anybody have other suggestions?

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Yes.

Out OF Sight, with J-Lo and George Clooney. From the novel by Elmore Leonard.

Directed by Soderbergh. Produced by Danny DiVito.

Edited by the immortal Anne V. Coates.

I can see you all rolling your eyes at me through the internets, but look at this flick sometime, and just look at the way it is edited. Magnificent.

Coates and Soderburg first tried out their "fractured editing" style in Out Of Sight, and then really went for it in The Limey. So damn good.

I haven't seen the first but loved The Limey.

I decided to show Strangers on a Train so they can see how the editing itself helps to tell the story.

I almost chose Cabaret.

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What is meant by fractured editing?

What aspects of editing are you trying to highlight?

lol I didn't know what else to call it...

in some scenes, he separates the audio from the picture, where you hear someone from another scene over a completely different scene - not a voiceover, but actual dialog from another scene, and we back and forth sometimes.

He does it in the "drinks" scene between Clooney and Lopez in Out Of Sight, and then through the whole of The Limey.

Wow, that sounds terribly confusing. I need to remember not to watch those movies.

It's called a sound bridge and it is not confusing at all. Here's an example. Near the end of the scene, Clarice's dialogue carries over from her on the phone to the next scene. The sound bridge connects scenes.

Often when characters have a conversation the sound carries over the cut. That's called dialogue overlap and it serves to make the cutting back and forth invisible.

https://youtu.be/5HlSwn7C8lE?si=eSq7pTmWlIrAIb_A

The second video shows the dialogue overlap. Notice when the dialogue carries over the cut. Crawford is still speaking and we see the cut to Clarice. It's only at the end of the scene when Clarice is speaking and her voice carries over the cut to Crawford.

https://youtu.be/E8znAorKguo?si=VggLcGI5viyrpwCQ

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Imagine trying to hate on Soderbergh. The man’s a natural, through and through.

my girlfriend saw him last week at mandalay bay last week but was too shy to say hi to him. as if he isn't gonna say hi back to a 24 year old pretty lady . she loves him .

It's time...

All, I just got an email from Mubi saying that they start streaming April 12.

I think I get what you're saying. I would call it a post-lap, as opposed to a pre-lap. I don't think that's what exemplified in the second clip. I don't think the voice that says "Oh, he's a monster," is Crawford's voice. I think it's whomever Clarice is talking to in the next scene. And for that reason, that clip is actually an example of a pre-lap. (For anyone else who's interested in this pedantic exchange, just go to the last ten seconds of the second clip. Don't let John Cole needlessly waste 3:30 of your time on the rest of the scene like he did to me.)

The second clip demonstrates both a sound bridge (Crawford begins the sentence and Chilton finishes it) from one scene to another and dialogue overlap (the sound carries over the cuts in the dialogue between Clarice and Crawford within the scene but not from scene to scene).

Dialogue overlap helps to make the cuts invisible in that shot/reverse shot pattern within the scene. So see where Crawford is talking and the editor cuts to Clarice while Crawford is still talking and the sound carries over the cut.

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Picking one or two films to try and illustrate 'editing' as an art form is like picking one or two paintings to try and illustrate brush techniques... perhaps you can use a film to highlight a certain technique or to bring attention to an editorial style,l or a famous editor, but you're gonna need a series of films or a series of film elements to really paint an accurate picture of that segment of film making .

not watching out of sight is a big mistake. phenomenal movie in every way.


well this looks and sounds fantastic.

Somebody was asking about terminology. That's all. So I gave examples to explain the terminology.

You could look at George Tomasini or Thelma Schoonmaker for a body of work.

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I love these typical Guns & Bikers movies...

I'm not sure who is the scarier out of Bruno and Hannibal.

Civil War isn't going to be the movie you think it is...

American Fiction came on last night. I found it interesting, but not compelling.

I mean, I kept watching, but family melodramas aren't my thing. So that storyline didn't intrigue me. Also, not being an artist, I didn't really get the story of the writer creating popular schlock vs wanting to write well on anything but it's surface.

To be clear, that's on me, not the movie. Seems like it was well-made, just the stories didn't resonate with me, personally.

It's Alex Garland, so I'm assuming it's going to be smarter than the straight up action film the trailers suggest.