The Oscar-Nominated Editor That Has One Rule
Summary
TLDRThis 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
🎬 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.
📽 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.
🎭 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.
🏆 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.
🎼 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.
Mindmap
Keywords
💡Non-Edit
💡Code of the Scene
💡Time as a Narrative Tool
💡Rhythm
💡Metronome
💡Motifs
💡Black and White
💡Emotional Impact
💡Performance vs. Being
💡Audience Experience
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
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