Walter Murch and the sound of the cut
Why the editor of Apocalypse Now believes a cut should feel like a blink, and what he gave up to make it so.
Editor
Thelma Schoonmaker and the Scorsese rhythm
Three Oscars, one director, six decades of collaboration. We trace how her cutting turned Raging Bull’s fight scenes into something closer to music than sport.
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Dede Allen broke the rules of continuity
From Bonnie and Clyde to Dog Day Afternoon, the editor who made jarring cuts feel like the truth.
Eisenstein: montage as a weapon
The Odessa Steps sequence still teaches how two shots, placed side by side, can create a third idea.
Sally Menke’s Tarantino pulse
How a long-time collaborator gave dialogue-heavy scenes their pace and Pulp Fiction its shape.
Michael Kahn, Spielberg’s other eye
Raiders of the Lost Ark, Schindler’s List and Saving Private Ryan: a career spent choosing what the audience sees next.
Hitchcock, Tomasini and the shower scene
Dozens of short shots, one editor, and a murder the audience remembers seeing even though the knife never touches skin.
Bold ideas get found in the edit.