En el último día Webber escribió sobre el proceso de edición de Emperor.
Aquí están sus palabras, todo claro y bien explicado.
As we wrote on the last post, Webber has been writing on the UK Directors web page, as a guest, through 5 days.
In his last day Webber wrote about the whole process of the Emperor editing
So here are his words, all clear and well explained.
Sayonara
Friday is here – the end of the second week of my edit, and the end of my stint at @Directors_UK as guest blogger.
I realize that I’ve spent more time waxing lyrical over tech and twitter than I have on the current process I’m going through with my film. So, an update from the post-production trenches:
We have three cutting rooms going at the moment here at Park Road in the heart of Peter Jackson’s empire.
In the first I’m sitting with editor Chris Plummer trying to knock some sense into the structure of “Emperor”. I’m always cheered in this process by the (half remembered) words of Robert Wise who said something along the lines of how a film must be kicked and beaten and pummelled and dragged around the block by the scruff of its neck until it is wrestled into submission.
Of course, each film fights you differently – in this instance we have to juggle the competing demands of a political thriller and a love story, two different timelines and a flashback structure. We have a tight delivery schedule so the pressure is on but we’re doing our best to fight the good fight.
I have followed the same career path as Robert Wise, in that I was an editor for many years before I turned my hand to directing, so I appreciate his perspective.
"You know, people always think if you start out as a film editor, you shoot less footage. Actually, just the opposite is true. I tend to grab as much coverage as I can because as a former editor I know how important it is to have those few frames."
Words of wisdom.
The cutting room next door has Simon Price seated at the Avid. He is busy cutting the trailer which our sales company Sierra will screen at Cannes. Wellington -Auckland -Sydney -Dubai - Nice and back again ought to be a pleasure – almost four days travelling to spend just two days meeting distributors and doing the whole dog and pony show. We are trying to whittle two hours down to a finely honed five minutes that shows off the film to its best advantage. We have a wealth of good-looking material to choose from, with great performances to boot, but getting the right balance is difficult. Do we concentrate on telling the story or showing off our production values?
The third cutting room is where assistant Peter Skarratt is working. As we are trying to re-create the bombed out apocalyptic landscape of Tokyo, there are a large number of VFX shots being worked on. Peter is knocking up some temps for us to work with in the edit, and wrangling the material that Iloura, our VFX house in Melbourne, are sending to us.
Meanwhile, down the road they are still filming “The Hobbit”. Behind every door in this place lies a closely guarded post production secret. This weekend brings two pleasures – the New Zealand Symphony Orchestra playing Debussy’s La Mer, and the premiere of New Zealand indie movie “Good For Nothing”, a Western set in the US but filmed entirely on the south island on a shoestring budget.
El link de este escrito/The link for this writing:
http://www.directors.uk.com/users/directors-uk/blog/peter-webbers-guest-blog-day-5
Y éste es el link de los 5 escritos de Peter/ And here the link for Peter's 5 writings: http://www.directors.uk.com/users/4461/blog
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