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#9 in a Series |
Moving on
Up:
A Fireside Chat with Carol Littleton, A.C.E.
by Charise E. Angone
Remember the days when a director's vision was nurtured by all that surrounded them? When the people working on a film were filled with excitement, enthusiasm and wonderment, convinced that they were making the best film ever? Editor Carol Littleton remembers.
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at the Fireside Chat. |
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Becoming a good editor starts with the right mindset. Carol recommends that assistants start thinking like an editor: How would you put the film together? Which take would you use? What music and sound might work? Then share your ideas with your editor and become a collaborative assistant.
For every film she cuts, Carol says there is a process that she follows. First, the script: Read it once, looking for central ideas, the characters and how they are introduced, how the action unfolds and how it feels to you. First impressions are the most important. Also, try to read it in one sitting, soaking in as much as possible. Then read it again with a more critical eye, analyzing the central themes, characters and dramatic structure. On the third reading, take copious notes. Then, when you have your initial meeting with the director, you will already have some ideas to discuss. However, do not talk about the script's flaws; concentrate instead on its positive aspects and ask constructive questions.
If you land the job, the next step is to try to become involved with the rehearsals. Carol has found that sitting in on rehearsals acts as the first preview of the movie. They allow her to experience the story's emotional arcs and spot potential problems, and to see how the director works with the actors. They are also a good way of getting to know everyone and becoming part of the filmmaking process.
During dailies, Carol sits next to the director and takes notes, ultimately getting a feel for what he wants. Also, during dailies and the first cut, she says to pay special attention to transitions and timing. Too many directors forget that screen time is not real time. "Mark Kasdan gave me a plaque several years ago which still hangs on my wall," said Carol. "It says, 'Thank God for editing - it makes things shorter.'"
Only after all of this preparation is an editor ready to tell the story. With the advantage of digital technology, creating many different versions of scenes has become all too common, according to Carol. Although she recommends trying different things, she also warns:"Be careful not to lose sight of what you were doing in the first place. The value of editing is thinking about it. How do I make this scene better instead of just changing it again and again? That is what digital editing has really taken away, thinking something through before doing it. When cutting was done on a Kem or Moviola, making changes was time-consuming and a big deal, so a lot of thought was put into why you want to make the change before actually doing it." She adds that many films today lack critical analysis.
Carol also emphasized the importance of music and sound as dramatic devices. Before becoming an editor, she studied music and later worked at a film sound library. To this day she always cuts with temp music and a full complement of sound effects.
An audience member asked if the stellar group of directors with whom she has worked - including Lawrence Kasdan, Jonathan Demme and Steven Spielberg - makes the process easier. "Undoubtedly yes," Carol answered, adding that the key to being successful is keeping a positive, supportive and collaborative attitude through every stage of the filmmaking process.
Based on this solid approach, Carol has built an exceptional career that includes the films "Beloved", "Benny and Joon", "The Accidental Tourist", "Silverado", "Places in the Heart", "The Big Chill" and "E.T.: The Extra-terrestrial", among others. In the end, she reminded us all that filmmaking is not about how much money a movie makes, but about how many people it touches.
Charise Angone is an assistant editor.
Reprinted from
The Motion Picture Editors Guild Newsletter
Vol. 20, No. 4 - July/August1999
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