The Oscar-Nominated Editor That Has One Rule

Summary

This in-depth interview with Oscar-nominated editor Yorgos Lamprinos explores the art of editing as a narrative tool. Lamprinos, known for his work on films like 'The Lobster' and 'The Killing of a Sacred Deer,' discusses the power of 'non-edit' and the strategic use of time to enhance storytelling. He shares insights on how music can dictate the rhythm of a scene and the importance of holding shots to allow the story to unfold naturally. The conversation delves into the nuances of editing, emphasizing the subtle yet impactful choices that can elevate a film's emotional resonance and immerse the audience in the narrative.

Takeaways

• 🎬 The importance of 'non-edit' situations in film editing, where the scene's code is transmitted without cutting, allowing the shot to speak for itself.
• 📹 The use of time as a narrative tool in editing, holding on a shot to create tension and anticipation, and letting the audience beg for the reveal.
• 🎼 Music acts as a metronome in editing, guiding the rhythm of a scene and determining the movie's cuts alongside the actors' performances.
• 👩‍💻 The editor's role in supporting an actor's performance by choosing the right takes and focusing on authenticity over pretense.
• 🕊️ The concept of motifs in film, where repeated elements expand the audience's understanding and connection to the story.
• 📚 The power of editing to create an impactful experience for the audience, even if they don't consciously notice every detail.
• 🔍 The strategic use of black and white imagery to express power dynamics and contrast emotions within a scene.
• 🎹 The role of the piano as a recurring motif, acting as a metronome to punctuate and give rhythm to the narrative.
• 👥 The interconnectedness of different storylines in a film, using motifs and timing to create a conversation between them.
• 🎞️ The challenge of editing complex scenes, where the music and performances must align to convey the intended narrative and emotions.
• 🏆 The Music Bed Challenge, a 30-day short film competition that encourages filmmakers and content creators to create and submit their work for recognition and prizes.

Q & A

What is the key editing philosophy discussed by the Oscar-nominated editor in the transcript?

The key editing philosophy discussed is the 'non-edit' or 'less is more' approach, which emphasizes the importance of holding on a shot to let the scene's code be transmitted without unnecessary cuts.

How does the editor describe the use of time as a narrative tool in the transcript?

The editor describes using time as a narrative tool by weaving different scenes chronologically and having them converse with each other, creating a deeper viewer experience.

What is the significance of the 'non-edit' situation in the kitchen scene with the character presenting a threat?

The 'non-edit' situation in the kitchen scene is significant because it allows the tension and threat to build naturally without cutting away, making the scene more impactful.

How does the editor utilize music in the editing process?

The editor uses music like a metronome, allowing it to determine the movie's cuts and the rhythm of the scenes, enhancing the storytelling.

What is the 'Ninja Cut' mentioned in the transcript, and how was it used?

The 'Ninja Cut' is a technique where there is a quick transition between shots, such as cutting between a character's face and a finger. It was used to create a more impactful scene by showing the whole finger-cutting incident in one go.

How does the editor create tension in the scene where a character is asked to cut off a finger?

The editor creates tension by using short cuts between shots, a simple and clean editing style, and the rhythm of the music to surprise the audience and build anticipation.

What is the role of motifs in connecting different storylines in the film?

Motifs are repeated elements that help the audience make connections between different storylines. They grow in understanding and feeling each time they reappear, enhancing the narrative coherence.

How does the editor approach the editing of a scene to support an actor's performance?

The editor focuses on finding the best performances first and then constructs the scene around them, using elements like black and white material and music to enhance the storytelling and character portrayal.

What impact did the editing have on the audience during a screening in Athens as mentioned in the transcript?

The editing had a strong impact, causing one person to faint due to the intensity of a scene, which indicates the effectiveness of the editing in creating a powerful emotional response.

How does the editor describe the difference between a performance and being in the context of editing?

The editor describes the difference as seeking authenticity in the actor's portrayal, where 'being' refers to the actor's genuine presence in the situation without pretending, which is more valuable than a rehearsed performance.

What is the significance of the black and white imagery in the film as discussed in the transcript?

The black and white imagery signifies a power dynamic and the contrast between characters, such as Raymond's dominance and Robert's subordination, and serves as a visual tool to enhance the narrative.

Outlines

00:00

🎬 The Art of Non-Editing in Filmmaking

This paragraph delves into the editing philosophy of an Oscar-nominated editor, emphasizing the importance of 'non-editing' where shots are allowed to play out naturally to preserve the scene's narrative code. The editor discusses the role of music as a metronome, dictating the pace of cuts and enhancing the actors' performances. The conversation highlights the significance of holding shots to allow the story to unfold and create tension, as demonstrated in a scene from a film by director Yorgos Lanthimos. The editor also touches on the concept of 'less is more' in editing, using the example of a scene from 'Civil War' edited by Jake Roberts.

05:18

📽 The Impact of Timing and Close-ups in Cinema

The second paragraph examines the use of timing and close-ups to create tension and impact in film. It recounts a specific instance where a close-up was used to enhance the dramatic effect of a finger-cutting scene, as suggested by actress Emily. The paragraph also discusses the audience's reaction to this intense scene, leading to a fainting incident, and how music contributes to the narrative's rhythm and emotional depth. The conversation shifts to the broader topic of filmmakers using time as a narrative tool to interweave different scenes and create a deeper viewer experience.

10:19

🎭 The Essence of Authentic Performances in Film

This paragraph focuses on the distinction between a performance and the authentic 'being' of an actor, as sought by the editor when working with Jesse PL. It discusses the importance of capturing the truth of the character's situation without pretense. The editor shares insights on how to support and enhance an actor's performance through careful editing choices, particularly in a scene involving a character named Raymond. The paragraph also explores the use of black and white imagery to convey power dynamics and the character's internal struggle.

15:19

🏆 The Music Bed Challenge: A Call to Aspiring Filmmakers

The fourth paragraph introduces the Music Bed Challenge, a 30-day short film competition that encourages filmmakers to create narrative, documentary, or commercial shorts. The challenge offers an opportunity for aspiring filmmakers to win prizes, recognition, and the chance to have their work judged by industry professionals. The paragraph also mentions the Music Bed service, which provides access to a vast library of music for filmmakers to use in their submissions, emphasizing the importance of music in enhancing cinematic storytelling.

20:21

🎼 The Power of Motifs and Time in Film Editing

The final paragraph explores the use of motifs and time as narrative tools in film editing. The editor discusses how motifs are repeated and expanded upon throughout a film to create deeper connections and understanding for the viewer. The conversation highlights the importance of让观众参与到故事中来, encouraging them to make their own connections and interpretations. The editor also shares their approach to editing, emphasizing the need to establish the story first before incorporating music and other elements to create rhythm and emotional impact.

Keywords

💡Non-Edit

The concept of 'non-edit' refers to the decision not to cut or edit a scene, allowing the shot to play out naturally. This approach is essential in the video as it emphasizes the importance of letting the scene's 'code' or essence be transmitted without interruption. This technique is highlighted when discussing how certain scenes are left uncut to build tension and convey more profound narrative elements.

💡Code of the Scene

The 'code of the scene' refers to the underlying message or emotional essence that a scene communicates. In the video, this concept is crucial as the editor emphasizes the importance of preserving this 'code' by minimizing cuts, ensuring that the scene's intended impact is fully realized. The 'code' is the heart of the scene, and the editing process must respect and convey it.

💡Time as a Narrative Tool

Using 'time as a narrative tool' refers to manipulating the pacing and sequencing of scenes to enhance storytelling. The video discusses how time can be stretched, condensed, or played with to deepen the audience's experience, as seen in how different scenes are interwoven and how time is expanded to connect themes across the narrative. This technique allows for a richer, more layered storytelling experience.

💡Rhythm

'Rhythm' in editing refers to the pacing and flow of cuts and transitions within a film. The video highlights how rhythm, often influenced by music or dialogue, can control the audience's emotional response. For example, the use of piano as a metronome in certain scenes helps establish a rhythm that guides the narrative and emphasizes key moments.

💡Metronome

In the video, 'metronome' is used metaphorically to describe how music dictates the pacing of edits and cuts. The metronome-like rhythm ensures that scenes transition smoothly and maintain a consistent emotional tone. This concept is particularly evident in how music influences the timing of cuts, creating a seamless narrative flow.

💡Motifs

Motifs are recurring elements, themes, or symbols in a film that gain deeper meaning with each appearance. The video discusses how motifs, such as the piano punctuation and the finger-cutting scene, connect different parts of the story. These repeated elements help to weave together seemingly separate narratives, enhancing the overall thematic coherence of the film.

💡Black and White

The use of 'black and white' imagery in the video represents a shift in tone and the power dynamics between characters. It is discussed in the context of how these visual elements signify moments of control, power, and significant emotional shifts within the narrative. The black and white scenes contrast with the color scenes, highlighting their importance and the tension they bring.

💡Emotional Impact

'Emotional impact' refers to the effect that specific scenes or edits have on the audience's feelings. The video emphasizes that the editor's job is to ensure that the audience feels the intended emotions, even if they do not consciously recognize the editing techniques used. Emotional impact is achieved through careful manipulation of timing, cuts, and the preservation of the scene's 'code.'

💡Performance vs. Being

The distinction between 'performance' and 'being' is discussed in the video as a way to describe an actor's approach to a role. 'Performance' implies acting, while 'being' suggests the actor is fully inhabiting the character, creating a more authentic and powerful portrayal. The video highlights how the editor must recognize and preserve moments of 'being' to maintain the scene's emotional truth.

💡Audience Experience

'Audience experience' refers to the overall impact that the film has on its viewers, shaped by the narrative, editing, and emotional engagement. The video discusses how various editing choices are made with the audience in mind, ensuring that they are emotionally invested and that the film's themes resonate with them. The editor's goal is to create a seamless experience where the audience feels the intended emotions and grasps the deeper meanings of the film.

Highlights

The secret to this Oscar-nominated editor's work is actually not cutting and letting shots play out, allowing the scene's code to be transmitted without interruption.

Holding on a shot that we don't want to see yet makes us beg for it, using time as an editing narrative tool.

Yorgos Lanthimos uses music like a metronome, giving him the license to let music determine a movie's cuts and his actors' performances.

Discussing the importance of not intercutting dialogue to maintain the threat's presence in a scene.

The power of simple, clean edits: using just three shots effectively to convey a scene.

The impact of staying on a shot for longer, as suggested by Emily, to enhance the tension and emotional response.

Using time and music to help make cuts, especially during significant skips in time to surprise the audience.

The role of the editor in supporting great performances and choosing the best takes without overshadowing the actors' work.

The importance of not intercutting certain scenes to maintain tension and control the narrative.

Using black and white footage to express power dynamics and control within a narrative.

Creating emotional impact by cutting between past and present, making connections in the viewer's mind.

Using motifs like repeated piano notes to expand the narrative and connect different story elements.

Motifs such as sacrificial acts (abortion, cutting a finger, jumping into a pool) are used to connect different storylines and deepen the narrative.

The editor's goal is to immerse the viewer in the timeline of the film and create a deeper experience by revisiting themes.

The significance of building the edit bottom-up: finding the best performances first, then adding music and additional material to enhance the scene.

Transcripts

so it's a little interesting that the

secret to this Oscar nominated editor's

work is actually not

cutting and letting shots like this

play out cuz if you cut the load it

doesn't make sense it's the non edit

situation and let the code of the scene

be

transmitted no you don't need to cut to

talk about this Advanced edit discipline

we're bringing back the longtime editor

of acclaimed director yogos lampos who

made M pieces like the lobster the

favorite poor things and most recently

kinds of kindness in this in-depth

masterclass interview we explore how to

use time as an editing narrative tool

how to hold on a shot that we don't want

to see yet make us beg for it and how

yuros uses music like a metronome giving

him license to let music determine a

movie's cuts and his actor's

performances this is editing podcast

brought to you by movie if you're new

here please

subscribe

hi oh hi my darling Sophie why is it so

important to be holding on to this shot

it's definitely an iconic shot right

it's the sort where something ordinary

happens the frame is perfect the bright

situation in her kitchen and he being

dark and ENT from the right he presents

a threat right you don't need to

intercut the sord for the dialogue and

see him saying hi he has to be a threat

oh hi my darling I just went to the

store I got some wonderful tomatoes and

some beef

tenderloin I ran into Tammy and Kate

Tammy said they're really missing you at

work I'm

hungry so you did have other options but

you chose that this is the one to hold

on to the most the code has to be very

clear it's the non edit situation and

let the the code of the scene be

transmitted no you don't need to cut

well it's it's the classic less is more

the editor Jake Roberts who edited Civil

War in the next alien movie he feels

like some Ed are paid by the cut so it's

I very much agree on that yes CU if you

cut a loot it doesn't make sense it

doesn't contain the code of the S as the

Director reminds it for you to Ed it in

a proper manner without destroying the

situation somehow and also just like him

coming in to that framing what is quite

an ordinary shot suddenly turning into

something quite horrific quite quickly

so much story is told just with that one

shot and you simply not cut letting the

shot speak for itself I'm

hungry and then the music informs okay

what is going to eat now with the beef

Fila I just bought there some spaghetti

there some salmon in the freezer is it

fish or meat you

want me so you see here is where the

rhythm is is it fish or meat you want

clap shut in the door me wonderful down

oh wait

sweetheart I want you to chop one of

your fingers

off cook it with cauliflower and bring

it to me to

eat or your thumb maybe whatever you

think is

best that's what I want can you do that

for

me just just a small movement of him

going forward before we cut to this

situation so the edit is very simple

this short his medium short and then her

medium short just three shorts but it's

Simple and Clean it's effective that's

what I want can you do that for

me the the music informs that okay this

is the end of this scene she heard that

now we go into her situation what would

she do about

it so using time of the music to also

help you to make those cuts but it is

such big skips in time I believe we had

to be ahead of the view at these moments

that's why we made the cuts a bit fast

take by surprise the audience and not

build the Lots on that decision and go

faster to the making of the choice and

cutting your finger

[Music]

ah I start to winse away for this yeah

because it does create a moment of

tension

here and then on this said that we spent

a lot of time and and actually that was

when Emily came to Athens to watch the

card she suggested that we stay longer

because we had a Ninja Cut between her

face cut on her finger again her face

and the end of the finger but then she

suggested to use a closeup to say the

whole thing and you know maybe present

the the cut later as a matter of fact

she was absolutely right when we did

this cut we were both amazed because you

see that happen or you imagine it

happening on your

face but yeah staying on is so much more

impactful and then when you don't expect

it

actually it comes like you

know I don't even want to pause on it I

can't I can't look at

it I I'm getting squirmish just looking

at this even just thinking about it h

I was at the screening in in in Athens a

week ago one person uh collapsed and had

to open the you know the lights it's

true after the finger he was very upset

and he just lost Consciousness and my

the situation walked a lot on a visual

level well I feel bad because it means

that the scene worked that you made

someone faint it does

laughing at that

though then of course the music

continues same Rhythm but different

cords more aggressive and more grave

making the idea come more to our mind

somehow okay she did it and what is

going to happen next but then it

continues cuz she cooks a

finger we come to this place for magic

we come to movie to laugh to cry to

care because we need that all of

us mie is the streaming service to watch

The Works of iconic directors and

emerging altars from all around the

world if you're watching this episode

you're probably a fan of yogos lampos

and you can watch his absurdest short

film nimic now exclusively on movie so

I've recently been diving into the work

of today's greatest Alters like Luca

guano's short film The Staggering girl

and park Cham work's latest Masterwork

the Romantic friller decision to leave

it's films like that that inspired me so

yes heartbreak feels good in a place

like this in movie you can try movie

free for 30 days at movie.com editing

podcast for a whole month of great

Cinema

for free one of the actual most

interesting things that I got out of

watching that film was using time as an

interesting uh narrative tool the way I

liked to describing it is you had like

four to five different scenes all

chronologically they're all like

completely separately but it looks like

we were using time in a way to have all

of those scenes kind of weave between

each other what I'm asking is like what

was your relationship with using time as

a narrative to in this movie well time

is that's a very interesting subject on

its own because we're always in time

right and the film it's always in the

present time right what you see it's

happening right there but then you have

to try to expand it somehow and you know

like concentric circles going around and

come back to the same theme so so it's

the themes that repeatedly come into the

movie coming back to them it expands

your vision of time somehow and it makes

your experience is more let's say deeper

in a sense so all these feelings of time

filmmakers do take advantage of them to

immerse the viewer in the timeline of

the

film they took the

racket what did you

say Raymond came in during the night

while we were sleeping and took the rack

that's so strange who could have taken a

racket this is a typical desert plon

look he has all these things inside him

he just wants to erupt but then he

controls it and says all his lines in a

very controlled manner I can assume you

could trust you had such a great

performance every single take and you're

like I I don't know what I don't know

what take to choose all of this is

amazing how are you able to be

supporting J J's performances when you

have a being like Jess PL there are

certain characteristics that are very

peculiar to him he is not to the

performance as pres but to his being

which is not a performance to me it's

like being there being that person in

that situation without pretending I am

that person that's the truth that I'm

looking for the difference between a

performance and

being yes that's a very fascinating way

of like what you're looking for that's

so strange who could have taken a

racket the alarm didn't go

off I'm calling the police Raymond knows

the

code darling it was important for this

or not to be intercut with the actress

say in her lines we had to stay on his

face the alarm didn't go off to take all

this tension and I'm calling the police

Raymond knows the

code darling then it starts

to be precise he picked the code out

himself you didn't know that we don't

even cut to her we cut directly to his

narration is not discussion about two

people it's about what he has inside of

him and how he will express it what

explains also their relation and his uh

control in him

1962 the year he was born and there's

more the two of us are together because

that's what he

decided that night in chal he picked you

out for me he saw you sitting there on

your own and he told me to go over and

flirt with you I liked you a lot too

don't get me wrong but he made me do

it he suggested I make it seem like an

accident told me to pretend I had hurt

my hand to get us talking the notes and

the flowers I sent you he wrote those he

picked out this house these stools he

picked out this Rob Robert you need to

be heading to the office I'm not done

yet when black and white comes it

expresses first of all all this power

situation when we see Raymond for the

first time and then how Robert behaves

towards Raymond how subordinate it is

for him how he makes fun of the

situation how he orders him to do things

there one last thing

I never told you this before and it's

it's terrible what I'm about to tell you

I know that but you need to hear it the

reason we never managed to have a child

all these years is not

because you

couldn't it's because it's because

Raymond was

secretly paying

doctors to mess things up

those weren't miscarriages here they

were

abortions as soon as we cut to the

close-up of that I instantly knew the

implication what why was it so important

for you for the audiences to make that

connection first and we're not doing it

in her perspective they have to know

somehow this situation or suspect that

there's something that he put in Her

Dream because if you go a bit further

you will see her reaction the reason we

never managed to have a child all these

years is not

because you couldn't see this cut

between the past and the present like

she hears him now although that's not

true but we make this connection and

then you know it TS to the graveness of

the situation when she cries so that

doesn't come from her reaction in the

present when she hear about it but it is

created through these three images these

different SS and the way they cut they

put the situation in the viewer's mind

her crying is not only about believing

that she had an abortion her cry or her

tears is about here in the in the now

realizing this is what happened to me so

this is even more of uh using time as

that narrative tool where like

essentially all of these timelines are

having a conversation with each other

that's quite powerful I like that a lot

all right I bet you $20 actually you

know what $50 that you're a filmmaker

and yes content creators and editors are

filmmakers too and the reason why I

bring this up is because I have been

talking to my friends at music bed and

they've brought back their film making

competition the music bed challenge it's

a 30-day short film competition where

you can make a narrative short a

documentary short or a spec commercial

and you can get in the running to win

prizes industry recognition but most

importantly bragging rights so that

piece of content or that short film

we've been wanting to make well you

don't have that excuse anymore this is

when you make it and I will be part of

the judging panel and music bed will

even give you access to their entire

selection of music to use in your

submission seriously their entire

library is fantastic some of the best

work I've ever made as been because of

Music B I'm really grateful for them and

actually it's really cool I think that

music is actually really fantastic

because you can do some really really

cool amazing cinematics off it's

definitely worth it so get the camera

rolling and the timeline

flowing that Line's terrible yeah the

deadline to submit is August 15th use

the link in the description to get the

music bed starter kit thanks for

listening let's get back to the

conversation I make it seem like an

accident told me to pretend I had hurt

my hand to get us talking the notes and

the flowers I sent you he wrote those he

picked out this house these stools he

picked out and also I like this uh Justa

position between her being happy taking

the flower in the black and white and

being very upset in the present time

it's a nice Contex because they they're

facing each other not on the same

direction so it creates a nice graphic

situation I it's like a cross the

absolute contrasting aggressive change

in Emotion now he pointed it out that's

one of those details that you feel but I

didn't notice until you pointed it out

that's very powerful I love it of course

I don't expect a viewer to understand

all Le consciously when he watches it

but I know that when he watches he will

go through an experience this is the aim

but that's the power of the editing we

have all of these creative intents and

these creative uh choices that we can

explain and you can like tell me and

things like that and it's exciting but I

didn't notice any of these details like

I only noticed it now that you're

pointing it out but I felt it and that's

the one of the biggest things that we

try to do as editors we know for a fact

that our intent is never going to be

explicitly said but we need to make sure

that the audiences feel the emotion that

we're trying to create and it is a lot

of it is just compounding in just all of

these small creative choices that

compound into that type of expression

and that type of feeling in the same way

do you have a PO thing is like you had a

lot of the rhythm of the

piano you had the rhythm of the

monologue

1962 the year he was born and there's

more and so you able to use all of that

to then essentially then build the

sequence together like tell me having

all of that in Your Arsenal how were you

able to then create that Rhythm we have

to start botom up I edited the scene

without putting the black and white

pictures to find the best performances

to know what I needed from Jesse or from

his from his wife and then at certain

moments I started adding the black and

white material and when that was somehow

constructed in a way or of course longer

then the music could make that even

better in a sense so give it the proper

Rhythm and the prop the proper poses as

well for us to understand what happening

it was a very difficult scene in a sense

but very rewarding in a sense the amount

of editors I've seen come in find the

music track first and then edit to the

music you're like no make sure the story

is there first the one thing that you

said that I really wanted to touch more

on of like how everything is connected

and how you were able to have all of

these elements of the movie be

connecting with each other even though

it's like three different stories like

how can they all be talking to each

other what is something that you're

doing 20 minutes into the film that

might be informing something like an

hour later yeah that comes from J verto

idea of motifs like some things are

repeated when you hear them second time

your knowledge or your feeling about

them is informed by what you've seen

before so your understanding of that

Motif grows bigger like for example we

had this punctuation of the piano it's

like a metronome I liked you a lot too

don't get me wrong but he made me do it

that same thing is happening with the

finger because in the first

situation Robert could create abortion

situation for his wife for the love of

Raymond the same situation in a sense is

when she is willing to cut her fingers

to prove her love to him although it is

the same motive it is expanded in the

second situation and it's expanded more

in the third situation when you know one

of the sisters jumps into the

pool so she wants to prove that his

sister is that so she's willing to

sacrifice your life again so all these

motifs in the end make you connect these

stories not in a descriptive way not in

an explicit way but somehow you know to

make the connections yourself and to

find uh your own way through them and I

hope it will give you the ability to put

your own thoughts or feelings about it

that's what I like about his films

questioning and putting the audience and

putting the view the situation to

respond somehow that's fantastic details

wow you this was a great conversation

yeah again you helped me learn a lot

definitely keep do imple implementing

this in the work that I'm doing so you

thank you so much again for your time

thank you so much thank you so much for

calling me and I'm sure you'll have your

time to be a as it's in a great film in

the future I'm sure of that I really

hope so thank you so much for that it's

really encouraging thank you so much