{"id":8601,"date":"2016-05-25T07:42:36","date_gmt":"2016-05-25T14:42:36","guid":{"rendered":"https:\/\/blogschapman.wpenginepowered.com\/dodge\/2016\/05\/25\/teaching-the-art-of-editing\/"},"modified":"2026-07-20T16:34:37","modified_gmt":"2026-07-20T16:34:37","slug":"teaching-the-art-of-editing","status":"publish","type":"post","link":"https:\/\/blogs.chapman.edu\/dodge\/2016\/05\/25\/teaching-the-art-of-editing\/","title":{"rendered":"Teaching the Art of Editing"},"content":{"rendered":"

An oft repeated aphorism says that a film is written three times: first by the screenwriter, then by the director and finally by the editor.<\/p>\n

Certainly the screenwriter lays the foundation, although the film may bear little resemblance to the final script.\u00a0 The director, who interprets the screenplay, may have a different vision or be limited by the budget, by the actors\u2019 performances or by any other of a million other obstacles or exigencies. And finally comes the editor, who shapes and interprets the material, hoping to create or preserve, as needed, a coherent and compelling story.<\/p>\n

In handling material created by others, the editor is often caught in the cross-fire of conflicting opinions. Thus he or she has to be a \u201csly politician,\u201d says Professor Scott Arundale (The Wash, Hairspray, Rambo III, Punch Line<\/em>), quoting director Alexander Payne (Nebraska<\/em>). \u201cAn editor has many bosses,\u201d Arundale says. \u201cHis first priority is to the story and keeping to the director\u2019s vision. But he or she must also answer to the producer or the studio or the network or to the person writing the paycheck.\u201d<\/p>\n

When things go south and arguments or differences of opinion create a stalemate, the editor can be caught in the middle. \u201cTo avoid \u2018shooting the messenger,\u2019\u201d Arundale advises, the editor \u201cmust always maintain a \u2018can-do\u2019 attitude, even in the face of adversity.\u201d<\/p>\n

Fixing technical, coverage or performance problems demands that an editor be a problem solver, Arundale says, as well as a passionate observer of human nature. Professor Paul Seydor (White Men Can\u2019t Jump, Tim Cup, Turner and Hooch, Guess Who<\/em>) looks for \u201ca real sensitivity toward evaluating performance and narrative as they express drama and story.\u201d<\/p>\n

\"paul<\/p>\n

To help students understand whether story is an interest that drives them, Seydor asks them questions: \u201c\u2019What\u2019s the last novel you read? When\u2019s the last time you went to the Music Center to see a play or hear a concert? How much music do you listen to?\u2019 In other words, are drama, storytelling, etc. pursuits that are important enough in your life that they are also part of your recreation as well as the work you\u2019d like to do?\u201d<\/p>\n

For those who answer yes, there are other expectations: good communication skills, technical skills, enormous patience and an appreciation for the finest details. Although students often think, mistakenly, that editors are \u201cnot expected to be outspoken\u201d or are rarely asked for an opinion, Arundale points out that the successful editor must have a point-of-view and not be a “shrinking violet.\u201d<\/p>\n

To prepare students to work as editors, Seydor and Arundale provide a wide variety of exercises and on and off set experiences\u2014from writing script coverage to supervising continuity to data wrangling\u2014to help them understand the entire filmmaking process and develop a strong sense of story. Yet teaching where and when to cut is as much about practice as about having clear rules about what works and why.<\/p>\n

\u201cIt\u2019s very difficult if not impossible to generalize about where to cut and why,\u201d says Seydor, \u201cso I show them on a case-by-case, cut-by-cut basis so that they learn by example about context, the needs of story, performance, narrative, and the like.<\/p>\n

\u201cThe same holds with the various editing decisions: I discuss at great length the implications of choosing a close-up versus an over-the- shoulder versus a cowboy shot (a \u00be shot) or a full-shot. Why you go to the master, when you don\u2019t, when you stay in and when you drop back. Again, these are very difficult to generalize about, so you simply take them on a case-by-case basis.\u201d<\/p>\n

To gain experience in making creative decisions, students begin editing short scenes and eventually move to an entire movie, working on mid-level projects in the second year and editing thesis films in the third year.<\/p>\n

Seydor begins in the fundamentals class by giving students four scenes to cut\u2014and no instructions. \u201cI want to see what they do on their own,\u201d he says. Then he reviews the cuts, \u201cdiscussing the implications of their decisions, correcting the many outright mistakes, and then telling them how I would like the scene to be edited,\u201d thus giving students the experience of working to meet a director\u2019s goals. Finally, they move into fine cutting, handling such tasks as removing lines.<\/p>\n

Students are also required to do basic tracking, effects and music work so that the director, the producer, and the studio can watch a cut as if were a finished film. To do anything less is to fail to communicate the editor\u2019s vision for the work. Sound, Arundale and Seydor agree, is critical to selling an edit, yet students often believe that sound editors or others will handle that portion of the work after the editor is done.<\/p>\n

\u201cMany student editors take sound for granted and yet it is crucial to telling the story,\u201d says Arundale. \u201cI like to show them how to appreciate pace and rhythm in the flow of dialogue and how that is reflected in the pace of cutting.\u201d<\/p>\n

The same lessons are reinforced by film analysis and by regular practice. Seydor asks students to \u201cbring in examples of editing from films that they think have really good editing and explain why.\u201d Arundale asks his students to cut at least one scene a week, to get them \u201cbattle ready\u201d for both their final projects and the job market.<\/p>\n

Clearly, the practice and mentoring Dodge College editing students get pays off. \u00a0Seydor reports almost 100% employment among editing grads.<\/p>\n

When an editing friend recently asked Seydor for crew for his film, Seydor put the word out to as many students as he could. \u201cAnd they all turned him down\u2014because they were all working already! And he\u2019s an editor with a seriously high reputation,\u201d he adds.<\/p>\n

Both professors add that they have been repeatedly told by members of the American Cinema Editors (ACE), the preeminent editors guild, that Chapman editors are \u201cconsistently the best prepared students out of film school that they come across.\u201d Or as Seydor puts it \u201cWe must be doing something right.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

An oft repeated aphorism says that a film is written three times: first by the screenwriter, then by the director […]<\/p>\n","protected":false},"author":526,"featured_media":8602,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"custom_author_name":"Janell Shearer","chapman_pin_hero_slider":"","footnotes":""},"categories":[391,43,10],"tags":[],"class_list":["post-8601","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-academics-2","category-film-production-programs","category-programs"],"yoast_head":"\nDodge College of Film and Media Arts | Chapman Blogs<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/blogs.chapman.edu\/dodge\/2016\/05\/25\/teaching-the-art-of-editing\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Teaching the Art of Editing - 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