JOHNNY CHAZZ' TURN: "JUST CUT IT OUT..."- THE ART OF MINIMAL EDITING IN FILM

JOHNNY CHAZZ: To witness, and better yet, to experience a film with minimal cuts is positively sensational. The problem is that we just do not see it much anymore. Use of minimal cuts and extended takes is a direct sign of strength in direction, writing and in the overall editing process. To witness, and worse yet, to experience a film with constant cutting borders on both tiring and annoying, serving as a sign of weakness in direction and in the overall film-making process. Hence, the subject for this week: The effects of constant cutting in film.

Director James Cameron: "JC, I have you now!"

Today’s worst films are placed into one single category: The action and adventure film. These are not films – they are popcorn movies that saturate the screen with endless and pointless action, over-cutting and a complete lack of meaningful dialogue. Little is being accomplished with these films and they have become a dime a dozen. Simply put – they are tasteless eye candy. Even James Cameron (“Avatar” and “Titanic”) analogized today’s action films as being so over-cut that they appear as ‘chopped salad’.

The idea of an extended scene or take not only adds to the realism of the film, but creates a real bond between audience and character. Constant cutting creates distraction and more importantly, a space between the character and the audience resulting in a separation that we never want. Constant cutting also disorients the audience wherein you completely lose your audience and destroys the scene from the top-down and from the bottom-up. The effect is a total reduction in the dramatic and tension effect that these types of scenes are capable of creating.



Acclaimed Director: AKIRA KUROSAWA

How conscious are we really of the cuts in a film? It is the idea of the ‘uninterrupted shot’ that creates the emotion. Camera angles may constantly change and dollies may move in and out adding to this amazing effect without effects being used. To shoot an extended scene within a limited space is priceless. Directors such as Kurosawa, Scorsese, Truffaut and Woody Allen are especially known for utilizing long-takes to draw audiences into them and create the right mood. Other examples might include the party scene from “Far From Heaven”, the interior scenes of “Who’s Afraid of Virginia Woolf?” the final scene from Coppola’s “The Conversation” or Antonioni’s “The Passenger”. Perhaps the opening scenes to most Kubrick films ("A Clockwork Orange" or "2001: A Space Odyssey"), might qualify, or even the extended take in Lynch’s "Mulholland Drive” at Club Silencio. Both “Before Sunrise” and “Before Sunset” also have memorable and extended scenes allowing us (as an audience) to become emotionally invested into the characters. How about the tour through the House of Blue Leaves in “Kill Bill”? Tarantino’s “Reservoir Dogs” also offers us an opening scene that we instantly become invested in. Finally, the extended take during the last scene of "The Third Man” could easily be regarded as another long-take that works with great effectiveness.

An awkward tender moment without edits from BEFORE SUNRISE

We could go on and on, but I imagine that this week’s readers get the idea of where I am heading. Most directors and audiences who enjoy constant cutting do so to maintain interest – a visual interest. The truth is that when a scene is extended and minimal cuts are used, well – that is precisely what makes some of the most memorable scenes in Hollywood and film history. Just think about some of your favorite scenes of all time and it would be a safe bet that the cuts used in those scenes are strictly limited. Extended cuts will always allow the audience to be emotionally drawn into the scene while creating a sense of real-time.

Someone once said: “Audiences prefer to move their own heads and to examine a scene, but when our view is forcibly changed – we lose all interest”.Judge for yourselves CINEMA: COUNTERPOINT readers. I leave this portion now with my counterpart Jer, and eagerly anticipate his response in reference to the effects of over-cutting in film.

JER: Yet another great topic pulled from the heavens to talk about! It is funny how you diligently mentioned directors such as Kurosawa, Scorsese and Coppola…yet, again, no love for one of my personal favorites and an exemplarity of the extended scene director: Mr. Brian DePalma!

Director Brian DePalma

I took it upon myself to cover one of DePalma’s greatest films and a prime example of long shots in a motion picture when I covered THE UNTOUCHABLES in my November 7^th, 2011 posting. There are several extended/ uninterrupted scenes to converse about. The opening scene hangs over Robert DeNiro’s portrayal of Al Capone as he sits in a barber’s chair. The scene is unflinching as it stays on a wide shot and slowly begin descending into a close- up (or tight- shot) of the hot towel wrapped around his face only to have the barber remove the warm cloth and reveal Capone for the first time. The shot still remains unedited as you hear him reply to reporter’s questions. An excellent tracking shot (or dolly shot) has a low positioned camera circling around the table occupied by Sean Connery, Kevin Costner, Andy Garcia and Charles Martin Smith. The camera never cuts to any other shot and steadily paces round them, like an inpatient waiter, circling while the actors carry on with their talks. One other wonderfully extended shot has Martin Smith walking into an elevator within the Chicago Precinct as the camera remains on the outer doors as they close and pans to the left to catch both Costner and Connery walking into the scene while in conversation. It is a well- choreographed moment involving a busy hallway of officers and citizens carrying on their own business while intermingling with the real action taking place.

Another example of a long- steady cam shot can be found in 1992’s RAISING CAIN, also by DePalma. The scene is a well executed moment as we follow Dr. Lynn Waldheim (Frances Sternhagen) as she followed by two investigators as she rattles off an impressive and extensive piece of monolog concerning the main character’s multiple personalities. The scene begins in an interrogation room, moves out into the hallways, down two sets of stairs, into an elevator and into the basement morgue. The entire unedited scene clocks in at a staggering four minutes and fourteen seconds!

Start counting after 0.21! Here is the scene from RAISING CAIN!

Famed music video director Julien Temple directed the feature length film ABSOLUTE BEGINNERS in 1986 with musician/ actors David Bowie and Sade. Taking a page from his recent Janet Jackson video entitled “When I Think Of You” which had Miss Jackson strolling and singing through the neighborhood streets while pedestrians walk, chefs cook and a policeman directs traffic all in one single and unedited shot, Temple would re-create a similar scene as the opening to his film. Most of the main characters repeat the basic choreography and scenery from Jackson’s video on a grander, more cinematic scale. Same scene, different budget!

Not the film, but Temple's Janet Jackson video for "When I Think Of You!"



THE SHINING (1980)

Director Stanley Kubrick embraced the newly- introduced Stedi- Cam by using its equally balanced camera operation to avoid shaking while the camera followed a moving sequence in his 1980 classic THE SHINING. The best use of both the camera and the continuous unedited scenes followed little Danny Torrance (Danny Lloyd) as he would peddle his tricycle throughout the corridors of the emptied Overlook Hotel. The pace is quick, as we are almost bring driven by Danny’s energetic legs peddling though lobbies and hotel walkways… as he is unaware of what may lie around every bend turned, the audience is victim to his maneuvering ways.

A very complex extended shot would appear in Martin Scorsese’s 1990 mob film GOODFELLAS. The film is sprinkled with tiny shots but one has to lean towards the sequence involving Ray Liotta’s Henry Hill as he escorts Lorraine Brocco’s Karen as they exit out of a car, cross a busy street filled with cars, though the backdoor of a nightclub, passing the kitchen and though the waiters’ doors to the front of the club where a table is brought forth on cue with chairs awaiting to finally sit and enjoy Henny Youngman on stage beginning within seconds after their grand entrance. Intricate in its timing including busboys, waiters, patrons and cooks along the way. A flawless piece of work played to the tune of The Crystals’ “Then He Kissed Me."

Here is the scene from GOODFELLAS for your entertainment

JOHNNY CHAZZ: I will, of course give Credit to DePalma for his use of extended scenes and long takes as well. Specific moments in "Carrie", "The Untouchables" (nice detail you included here in your response as the wide / tight shot is highly effective in the opening barber scene) and well - the forgetful, but appropriate for this week "Black Dahlia" utilized this technique quite well. It is virtually impossible as you know Jer; to include every director in these discussions, so I simply try to highlight the ones that immediately come to mind. Still - DePalma does come to mind when discussing the films mentioned above. Kurosawa, Scorsese, Kubrick, Truffaut, Coppola and Allen are all immediates however and must be included as well - thus, I am glad you agreed with this.

A great moment from Akira Kurosawa's final film DREAMS

"Absolute Beginners" is a film that I am unfamiliar with, but the idea of the single, and unedited shot sparks my interest.....Netflix is calling here.

You mentioned "The Shining" (that specific Kubrick style I have tried to allude to this week) as well as "Goodfellas" (Scorsese again) and I could not agree more. The use of the Stedi-Cam is highly effective and creates that real, genuine tension that gives both films such power. The ultimate effect is to develop an atmosphere of authentic suspense or what we refer to as "cinéma vérité" to heighten dramatic scenes. It is also intriguing that you mention the tune "Then He Kissed Me" as having such an effect on a scene - as music is just another way to heighten the emotional impact and overall effectiveness of the single-shot......

So CINEMA: COUNTERPOINT Fans - it appears as though the ball is in your court now. How do you feel about films today being cut-up like "chopped salad"? Chime in with your thoughts and opinions on the subject and leave us your comments. Please note that we always respond to all so please check back here for our replies.

CINEMA: COUNTERPOINT will be tuning- off for a holiday- break and will return with a brand new topic on Wednesday January 11^th, 2012! On behalf of both JER and JOHNNY CHAZZ… we wish you all the Happiest and Safest of Holidays and a prosperous and eventful New Year! See you back here in 2012!

Have you visited the official CINEMA: COUNTERPOINT page on YOUTUBE? Check out classic and contemporary trailers, scenes and other great trips down memory lane! Just click the link and check out the "Favorites" on our site! Enjoy!

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JER’S TURN: FILMS (AND DIRECTORS) THAT DEFINED THE ERA THEY REPRESENT

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JOHNNY CHAZZ' TURN: "TENSION, TEARS, DRAMA AND CLIMAX"

JOHNNY CHAZZ: One primary focus in film is to cerate a sense of feeling – a deep and embedded lasting emotional reaction on the part of the audience. For a melodrama to really work, strict themes of loss, desire, love, death, betrayal and anger must present themselves in a believable and thoughtful manner on screen. The ultimate goal?: Leave your audience in a state of shock, disarray, deep reflection and enveloped in tears. Simply put – force the viewers to endure precisely what the characters on the screen are experiencing, and for them to witness a film that truly “moves” them – then and only then and there do you have a working melodrama.

BETTE DAVIS

The likes of Bette Davis (“Of Human Bondage”; “Jezebel”; “Now Voyager”; “All About Eve”) was probably one of the great names and actresses who appeared in so many early melodramas during the 1930’s and 1940’s. Greta Garbo and Barbara Stanwyk are also prime fits for that genre during those years. Liz Taylor would be the next in line during the 1950’s and 1960’s (“Butterfield 8”; “Cat on a Hot Tin Roof”). The key is that they were all characters that were bland and dry like a martini; yet, they remained ultra-cool while being transformed as the film progressed. They were a bit on the trashy side as well as edgy, but their mood remained dark and blue, yet with a glimmer of inspiration and hope.

Sets, sound, timing and virtually all aspects of mise-en- scene (a French expression for “placing on stage”) are fundamental in the classic melodrama. Sets must reflect the inner turmoil of characters while being lit and cast in a manner that reflects the nature of the genre itself. Sound must remain symbolic, honest and literal in every sense of the word if the character(s) are to be well complemented in the film. Thus, we must dwell. We must dwell on mixed emotions, inner distress and find resilience in character that runs silent and deep (no reference of course to the film of the same name). The final product is a work of art on screen that amplifies the “emptiness” and “longing” of characters on screen. The opening to a film such as “Ikiru” (1952) combined with the camera work, mood and editing of “Far From Heaven” (2002), then adding a dash of the timing with “In the Mood for Love” (2000) and finished off with the honesty, resiliency and subtle nuances of “The Scent of Green Papaya” (1993) and the final scene in “The Conversation” (1974). These are the end products of how a director not only should, but also must utilize the melodrama in the most efficient, and ultimately, understated manner. It takes just the right touch in terms of mise-en-scene (placing on stage), lighting, mood, dialogue, timing and score can give a melodrama the proper ingredients to deeply impact an audience.

The original trailer from Akira Kurosawa's IKIRU

So, what films make my list for best melodramas of all time? In essence, I am really asking myself: “Which films do the best job of communicating elements of mood, tension, drama and climax on screen?” Let’s keep in mind that not all melodramas are what we would call “tear-jerkers”, but the dramatic elements of the film weigh quite heavy on our hearts and in our minds. The ideal melodrama must use the proper tools to completely transcend all other genres in order to generate a real, a lasting and a genuine emotional response from the viewing audience. Thus, let’s keep both ideas in mind this week. Here is my list in chronological order:



Sunrise (1927)
Of Human Bondage (1934)
Love Affair (1939)
Gone With the Wind (1939)
The Wizard of Oz (1939)
Now, Voyager (1942)
The Best Years of Our Lives (1946)
It’s a Wonderful Life (1946)

CHAINS (1949)

All About Eve (1950)
Sunset Boulevard (1950)
Death of a Salesman (1951 & TV Version of 1966 and1985)
Ikiru (1952)
On The Waterfront (1954)
East of Eden (1955)
All That Heaven Allows (1955)
The White Angel (1955)
Wild Strawberries (1957)
Death of a Cyclist (1955)
Le Notti Bianche (1957)
An Affair to Remember (1957)
When a Woman Ascends the Stairs (1960)
Butterfield 8 (1960)
Lola (1962)
To Kill A Mockingbird (1962)
Marnie (1964)
Doctor Zhivago (1965)
The Sandpiper (1965)
Who’s Afraid of Virginia Woolf? (1966)
The Graduate (1967)
The Last Picture Show (1971)
Alice Doesn’t Live Here Anymore (1974)

THE CONVERSATION (1974)

Rocky (1976)
Taxi Driver (1976)
The Deer Hunter (1978)
Ordinary People (1980)
Paris, Texas (1984)
Stranger Than Paradise (1984)
The Color Purple (1985)
Au Revoir Les Enfants (1987)
Beaches (1988)
Cinema Paradiso (1988)
Schindler’s List (1993)

THE SCENT OF GREEN PAPAYA (1993)

Philadelphia (1993)
The Shawshank Redemption (1994)
Fargo (1996)
Life Is Beautiful (1997)
The Sweet Hereafter (1997)
In the Company of Men (1997)
The Ice Storm (1997)
In the Mood for Love (2000)
A Beautiful Mind (2001)
Far From Heaven (2002)
The Pianist (2002)
Talk To Her (Habla con Ella) (2002)
Lost in Translation (2003)
The Sea Inside (2004)
Brokeback Mountain (2005)
The Lives of Others (2007)
An Education (2009)
Winter’s Bone (2010)
The Artist (2011) ???? To be determined.

GRETA GARBO

JER: What a great topic to come back from November’s holiday break with… very powerful and profound. This seems to be the subject that began building up about a couple of blogs back. The conversations were becoming stronger and opinions of cinema were becoming very insistent with personal perspectives. I don’t pretend to be that heavy and that deep on the subject and your views stem from two different aspects; one: being your love for classic story development and film and two: being your education from attending film school. My voice and dialog was picked up from the streets with no formal schooling. I learned as I went along and deemed what I felt were good movies to glorious works of film!

Your coverage of the earlier screen icons (Davis, Garbo and Stanwyk) will give me the opportunity to talk about more contemporary actors and films. The tempos of film changed drastically between decades. The culture, political standpoints and pop- standards go in and out quickly and both music and movies can be outdated quickly if not produced correctly and with a sense of timing.

Johnny Chazz left his portion of discussion off at around the 1960’s, so let me pick up with the dawn of the 1970’s. This would be the decade that might have introduced an alternative take: the storytelling became grittier with more firepower coming from both the written screenplay and the scenarios they developed based on drama, misery, action or high- tension depictions.

The 1976 trailer for Brian DePalma's OBSESSION

A new wave of film makers were graduating out of film school and most of their hands- on training came from self- made documentaries and home movies. At around the same time, many others were coming from theater backgrounds and bringing more dynamics and a flare for the drama. Some stage writers were also trying their hand at more realistic dialog and developing characters that an audience could relate with. Most of the work was also based on the culture of what the world was surrounding itself with: the age of the Vietnam War, the Cold War and economic and social growth (good or bad, depending on who you spoke with). Hollywood took a chance and needed to speak to those who were forming protest lines to voice their minds and find a way to appeal to them. The years would pass into decades to come and the role of a “screen idol” had drastically changed.



MERYL STREEP

A new breed of talent was arising and bringing a new form of acting techniques and style. Meryl Streep, Robert DeNiro, Dustin Hoffman, Gene Hackman, Jessica Lange, Sally Fields, Jack Nicholson and Glenn Close are amongst just a few names of a new generation of talented unknowns that would soon rise to top in both their performance and artistic caliber. I will be the first to admit that their films would portray a different recognition for acting and cinema that could never be compared to the “Golden Age of Hollywood” … but a talent, nonetheless, worthy of mention.

As to not repeat any titles, I agree with some of the films selected by Johnny Chazz, but I wanted to bring forth a list of other titles, more contemporary, but still worthy of the topic at hand. If there was a list of recommendations that I would hand deliver, this would be it. Review carefully: how many of these films have you already seen, been far too long since last seen or never viewed at all? Look, find, buy or rent them and make the call yourself. Here it is:

A MAN CALLED HORSE (1970)

THE GODFATHER (1972)

LADY SINGS THE BLUES (1972)

BARRY LYNDON (1975) 

ONE FLEW OVER THE CUCKOO'S NEST (1975)

OBSESSION (1976)

THE OMEN (1976)

MIDNIGHT EXPRESS (1978)

INTERIORS (1978)

COMING HOME (1978)

KRAMER VS KRAMER (1979)

THE ELEPHANT MAN (1980)

DAS BOOT (1981)

BLOW OUT (1981) 

HEAVEN'S GATE (1981)

FRANCES (1982)

THE BIG CHILL (1983)

SILKWOOD (1983)

AMADEUS (1984)

THE KILLING FIELDS (1984)

MISHIMA: A LIFE IN FOUR CHAPTERS (1985)

RAN (1985)

PLATOON (1986)

DANGEROUS LIAISONS (1988)

THE ACCIDENTAL TOURIST (1988)

THE ACCUSED (1988)

MISSISSIPPI BURNING (1988)

GRAND CANYON (1991)

AMERICAN HISTORY X (1998)

THE GREEN MILE (1999)

TRAFFIC (2000)

21 GRAMS (2003)

BEFORE SUNSET (2004)

HOUSE OF FLYING DAGGERS (2004)

CACHE (2005)

CRASH (2005)

MUNICH (2005)

EL LABERINTO DEL FAUNO “PAN’S LABYRINTH (2006)

CURSE OF THE GOLDEN FLOWER (2006)

UNITED 93 (2006)

ALPHA DOG (2007)

AUGUST RUSH (2007)

GONE BABY GONE (2007)

DOUBT (2008)

SEVEN POUNDS (2008)

THE WRESTLER (2008)

JOHNNY CHAZZ: There is no doubt that the films beginning in the 1970's - although still an honest and literal era, became "grittier" as you state here, Jer. The subject material (One looks at "Easy Rider", "The Exorcist" "The Deer Hunter", "One Flew Over..." or perhaps "Apocalypse Now" or "Taxi Driver" and that ‘new flare’ had definitely been brought to the genre.

Christopher Walken: THE DEER HUNTER

How intriguing, Jer, that you mentioned that these films and new breed of actors (male and female alike of course) could “never be compared to the "Golden Age of Hollywood” but that their talent remains worthy of mention. Well, that is an understatement in my mind. As much as I appreciate classic cinema, the films of the 1970’s may very well have been the compilation and the climax of what audiences have experienced in melodramas considering precisely the ingredient your referred to prior: The subject material was so gritty and daring that characters with inner turmoil now had to deal with a world and other characters posing threats to their inner being. We can never sell short what we have seen in this genre post-1960, and in some ways we are seeing better and more impacting melodramas as time marches on.


UNITED 93

 I am sure that I took some titles away from you in my list which is not to say that you agree with most of them, but I would imagine that you are on-board with me on a large portion of those selections. Looking at your list for a moment – and the list is good (no pun intended again): “The Godfather”, “Barry Lyndon”, “Interiors”, “The Elephant Man”, “Silkwood”, “The Accidental Tourist”, “Amadeus” (nice choice here), “Traffic” and “21 Grams” (how did I forget those….perhaps I felt they fell into the suspense and thriller genre, but fair enough), “Before Sunset” (refer to earlier blogs and Jer really seemed to have a love affair with this one and I was so pleased), “Cache” and “Crash” are simply amazing, “Pan’s Labyrinth” (a melodrama and fantasy film weaved into one), “United 93” (terrific performances throughout, but was it a true melodrama? Perhaps…..enjoyed it immensely though), “August Rush” (never saw it….ahem, but will log-onto Netflix immediately), “Doubt” (I know your love for this film – and it definitely falls into this realm), and both “Seven Pounds” and “The Wrestler” were very impacting films.

The intense and tragic trailer for Woody Allen's INTERIORS
This list of yours is outstanding and I think the combination of both selections from us, at the very least, creates a compilation for our Cinema: Counterpoint readers to scan over and decide which films they would to like to re-visit or perhaps to view for the first time. The goal this week? Let’s fall in love with the Melodrama all over again and never forget the place and value of this genre in film history, as well as in the future of what studios aim to release. 

This closes out this segment and as always we will see you here on Cinema: Counterpoint with another motif and distinct discussion topic this time from Jer. SEE YOU NEXT WEDNESDAY and happy film-going!

Have you visited the official CINEMA: COUNTERPOINT page on YOUTUBE? Check out classic and contemporary trailers, scenes and other great trips down memory lane! Just click the link and check out the "Favorites" on our site! Enjoy!

http://www.youtube.com/user/cinemacounterpoint?feature=mhee