Today

1
Todays Class

1. Hand in Paragraph
2. Recap trim tool
3. Review Montage from Last Class
4. Discuss Suspense
5. Learn to make FCP work for you

2
Montage Recap
3
Sergei M. Eisenstein

• Image 1 Image 2 an Idea

1
2
Two Images that may have No similarities
visually, but when combined create an abstract
idea
IDEA
4

1. Metric
2. Rhythmic
3. Tonal
4. Overtonal
5. Intellectual

Sergei Eisenstein
5 Types of Montage
5
Pudovkins Approach to Montage
If the editing be merely an uncontrolled
combination of the various pieces, the
spectator will understand nothing from it but
if it be coordinated according to a definitely
selected course of events or conceptual line,
either agitated or calm, it will either excite
or soothe the spectator. -V.I. Pudovkin
Pudovkins approach to montage differed
drastically from Eisensteins in that he believed
in building the story as if each shot is a
building block. Each shot built on character and
story and when all the blocks came together it
would represent a strong film.
6
Suspense Editing

• Suspense Vs. Surprise

7
In the Words of a Master

• There is a distinct difference between suspense
  and surprise,
• and yet many pictures continually confuse the
  two. Ill explain what
• I mean.
• We are now having a very innocent little chat.
  Let us suppose that
• there is a bomb underneath this table between us.
  Nothing
• happens, and then all of a sudden, Boom! There
  is an explosion.
• The public is Surpised, but prior to this
  surprise, it has seen an
• absolutely ordinary scene of no special
  consequence. Now, let us
• take a suspense situation. The bomb is
  underneath the table and
• the and the public knows it, probably because
  they have seen the
• anarchist place it there.

8
In the Words of a Master

• The public is aware that the bomb is going to
  explode at one oclock and there is a clock in
  the décor. The public can see that it is a
  quarter to one. In these conditions this same
  innocuous conversation becomes fascinating
  because the public is participating in the scene.
  The audience is longing to warn the characters
  on the screen You shouldnt be talking about
  such trivial matters. There is a bomb beneath
  you and its about to explode!
• In the first case we have given the public
  fifteen seconds of surprise at the moment of the
  explosion. In the second case we have provided
  them with fifteen minutes of suspense The
  conclusion is that whenever possible the public
  must be informed. Except when the surprise is a
  twist, that is, when the unexpected ending is, in
  itself, the highlight of the story

9
SUSPENSE EDITING

• There are four important things to keep in mind
  when editing suspense
• Try to be involved in the script phase, look for
  suspenseful scenes and think about the various
  shots that could improve the scene and make it
  more suspenseful.
• Select your shots to leave the impact on your
  audience
• Timing of the shots holding on a shot or
  cutting tightly.
• Pace/Rhythm

10

• Timing Lengthening or shortening a event
• Pacing Altering the rate of cutting to
  mechanically control the speed of the passage of
  an event (Long drawn out shots vs. Quick Cutting)

11
Examples
No Country for Old Men Dir The Coen
Bros Editor Roderick Jaynes AKA The Coen Bros
12
Vsevolod Pudovkin1893-1953

• Studied Physics and Chemistry in University
• Started as an actor in the industry
• Helped Lev Kuleshov with early experiments
• Begins to develop his own approach to montage
  with his film Mother.