The editor

Francis Ford Coppola

you know, there was something to what we were doing after all. I know Walter Murch, the editor in Sound, although he was not an editor at this point, he was more in Sound. I think The Conversation was the first film Walter

1:28:20 · jump to transcript →

Francis Ford Coppola

long movie with a bunch of guys sitting around in chairs talking. I remember the assistant editor who was rewinding the reel said, yeah, I guess you're right. But, you know, every film kind of creates its own identity and it's possible to rivet an audience even

2:49:29 · jump to transcript →

Nick Pinkerton

The car, incidentally, is a 1973 Buick Riviera. The cutter who is making this all come together so well is Clint's usual guy during this period, whose career goes back to the late 30s, who at this point had very recently handled the race scenes in the 1971 Le Mans with Steve McQueen. The first Eastwood film that Webster cut was 1972's Joe Kidd,

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Nick Pinkerton

had gone to Michigan State University, where he graduated with a BA in graphic arts and was the art director and managing editor of the school humor magazine Spartan. From there, Cimino proceeds on to Yale, where he picks up a BFA and MFA in painting. Interesting, because there are not a great, great number of filmmakers who come to cinema through painting. Kathryn Bigelow immediately comes to mind. I'm sure there are others. Um...

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Joey Chitwood flew in, did it first shot out of the box. Went straight in, everybody cheered. Lean over. And, well, here we go. And so I designed a thing where Shawn says to her, lean this way, and the whole car tilts. That was a physical impossibility, if you watch this. I mean, when Cubby found out about it, Guy found out about it, we were back in England. And the editor said...

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Hello, I'm Barry Forshaw. I'm the author of such books as British Crime Film, British Gothic Cinema, and various other books on film. And I'm sitting with a man who's very recognizable. Sherlock Holmes is one of the most instantly recognizable characters in fiction, but so is a man who's written some of the very best modern Holmesiana, which is Kim Newman. Kim is a movie critic. He's an author and a broadcaster. He's a contributing editor to Sight and Sound and Empire Magazines.

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worked on this dubbing, it was a cutting room where we dubbed French films into English, so I was in the lowest, lowest possible position. I was watching the editors and they were doing this lip-sync work on editolas then they had in those days. In the lunch hours, I'd sit at the editor and have it run it back. Again, this time thing happened, you know, running back in life and forward, running backwards, you know, put people back...

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constant ups and downs of the horror film. It's here to stay on a recurrent basis. Now, Don, do you miss being the, in films that you make nowadays, do you miss not being your own DP and not being your own editor? I know that in your last film you didn't, you don't take an editing credit and you didn't obviously operate the camera.

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