Be brave and just ask.
If you’re lucky to be cutting the film while they’re still shooting, and you feel like you’re missing a shot that would help you to make a scene or transition better, go and ask the director for it. Nine times out of 10, they’ll be glad you did. Cutaways and establishing shots are usually the first things to get scratched off of the day’s shot list as time grinds down, but if you really feel you need something, go for it.
Talk to your director.
While you’re putting together the assembly edit, make sure you talk to the director at least every other day. They need to know how things are going in the editing room, especially if they’re still shooting. Also, always try and visit the set as much as possible, if you can. Not only is it important to talk to people like the sound recordist, the script supervisor and the DP, I also find it helps me feel more involved with the shooting process.
Show your work to the director early.
Don’t be afraid to do this! When you have 10 to 15 minutes of the film put together, polish it up a little bit and show it. If you’re going in the wrong direction with the material, you need the director to tell you sooner than later, right? If the director loves it, it will help your confidence as you continue editing.
It’s not just for writers: Brevity is the soul of wit.
When you’ve reached the point of a scene, get out of it. There’s no point in hanging around for that humorous ad lib or moment that has nothing to do with what just happened in the scene.
Don’t undercut an actor’s performance.
Just because you haven’t had an edit in the past 10 seconds, so what? If an actor is giving you something compelling, be bold and don’t cut away from them. Really look for all of the small things an actor gives you; a certain way they hold or touch something, a nervous laugh, whatever. It’s gold and it will enhance the film. The rules for comedy are a little different, since much of comedy editing can focus on people’s reactions to the funny thing that was said or just happened, but you still need to look for the little things can make something even funnier.
The close-up is your friend.
Don’t use wide shots during a dramatic moment. Nothing will remove an audience or kill a scene faster. An actor’s greatest asset is their eyes; if you can’t see them, you won’t feel them.
Music at the director’s discretion.
Don’t ever put temp music in your assembly edit unless you’ve discussed it with the director or there’s a specific song that needs to be played (a playback track, etc.) If you pick the wrong music, there’s gonna be trouble. I’ve known people to get fired over this.
Feedback, feedback, feedback!
Get the film in front of as many people as possible while you and the director are cutting. If you’re with a nervous first-timer and you need to remind them that a film was made for an audience, do it. It’s nerve-wracking at first, but they’ll get used to it. The comments you get are often invaluable. Write up a questionnaire that can be filled out anonymously (just like in the big preview screenings)—you’ll get more honest answers that way.
Filmography for Amy Duddleston
Cavedweller (2004)
Dandelion (2004)
Who Killed the Idea? (2003)
Welcome to Collinwood (2002)
Laurel Canyon (2002)
A Time for Dancing (2000)
Things You Can Tell Just by Looking at Her (2000)
Brokedown Palace (1999)
Psycho (1998)
The Man Who Counted (1998)
Crocodile Tears (1998)
High Art (1998)
Platform Six (1997)
Top of the World (1997)
Dinner Party (1997)
To Die For (1995)
Even Cowgirls Get the Blues (1993)
My Own Private Idaho (1991)
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