One of my many blessings in a acute nose for mold. Actually, my only blessing. I guess I’m not very blessed… Anyway, I can tell, from the first second I enter into a room whether or not there’s mold somewhere there. The smell is faint, kind of sweet and dusty at the same time, and it can’t be ignored.
Yesterday’s agenda was a bunch of meetings with several post production facilities; one of them had a moldy screening room. I bet nobody else noticed anything, it was very fancy and all that, but I would never be able to work there for more than few hours at a time, or I get a runny nose and sort of sick instantly.
One thing China seems to have a lot of are these “media parks”, which are just office buildings for creative industries. Media park becomes “media” when it has big glass windows, big lobbies with some wood or interesting metal structure elements, and “park” after instead of doing straight roads, they scatter the buildings all over and build winding roads that lead randomly from here to there and definitely not directly where you need to go.
The days are getting warmer. Leaving Finland, I only bought my heavy Black Yak winter jacket I bought for our shoot in China, but now, as the thermometer is climbing closer to 21 degrees, it’s completely useless. The weird flu I’ve had was on yesterday, so I decided to jump around in my t-shirt, which was too little, though, to make sure I either get a good cold or scare the stuff off.
This morning, waking up, I can tell the latter worked. I’m flu-free. I’ve said this before, and I say it again: I never get sick, unless I want to.
The day was much about just sitting in the car and riding from one place to another. I saw a good selection of colorist reels and from what I could deduct, the Asians like more colorful films than Westerners, based on a very limited empirical study (three reels). But thinking back on Asian films I’ve seen, though, there might be some truth to it.
Aside from being pretty warm, the weather has been just terrible; I mean, the pollution is worse than ever before I’ve been in China. The air quality index hit 250 today in Beijing, somewhere even up to 300, and you can feel it.
Enough a reason I really miss being back in Finland.
But luckily, I’ll be going back on Friday! Yay! Freezing cold end-of-the-winter awaits, but at least I can breath outside….
Sundays in Beijing are the only days I have off, and since last night I had gone to bed early enough, I was feeling terribly energetic as I woke up. For a while I read and answered emails, but then I felt the need to fill my soul getting a hold of me, so I jumped into my Timberlands (I know I’ve used this before, but I like the image) and headed outside.
First stop was a museum. I haven’t seen that much of cultural heritage here in China, save the mandatory Wall and Forbidden City, so I chose – because of the International Women’s Day, which was just few days ago – to go check out an exhibition featuring women painters in China.
Truly a spectacular exhibition! Some of the most terrific paintings I’ve seen in ages, although I had no way of deducting who was the painter, nor the painting name, but one that really struck me was a huge set of paintings about a stretching man. Every muscle and wrinkle described in detail, it felt like watching one of those Michaelangelo’s studies.
I was being lucky with the taxis, so next stop was a nice little coffee house called Bookworm, which is also a bookstore and some kind of a library. There, they had an LGBT discussion I bought a ticket to; I’ve been interested in sexuality-related discourse ever since reading Cacilda Jetha’s and Christopher Ryan’s “Sex At Dawn” some years back (probably, uhh, like ten years ago) so I was hoping to get an insight on how lesbians, gays, bisexuals and transsexuals are having it over here in China.
Unfortunately, as it is in so many cases like this, the discussion is way too advanced for me to really follow; I’m not familiar with the organisations behind the LGBT movement, the disputes they’re having between each others, nor am I in full understanding of all the niches they speak – there’s pansexuality, non-binary this, asexual that… I realized I was out of my league there, but did gather something important: While China has changed rapidly in the last decade, so has the acceptance and understanding of sexuality, too. One of the speakers told a story where ten years ago, she went back to her home village, her mother asked if she was doing lesbian porn in Beijing, when she told she had participated in LGBT things. Now, a decade later, her mother was criticising her relationship with another woman not because she was a woman, but because she was afraid the age gap would lead to her young girlfriend dumping her for someone younger and leaving her lonely for the rest of her life. Yes, Asian parents are famous for criticising their children’s life choices, but at least now the focus was in actual things, not some misconception on what being “lesbian” means.
Bookworm, being located in the Sanlitun area, is full of foreigners, so it was nice to see few other faces than the Chinese ones, and hear other languages, discussions you could follow (eavesdrop, that is) while reading a book. I sipped a glass of wine there, enjoying the atmosphere, and then decided to go sample the famed Georgian restaurant relatively close by.
Located in yet another embassy area, the place is Georgian to the bone: wooden structures outside and a statue of a Georgian guy with moustache (possibly some famed Georgian, wouldn’t know) welcomed me inside. The service was typical Georgian: no smiles (goes well with Beijing service culture) or unnecessary politeness, just terrific rustic food: a beef stew, khinkali-dumplings and Georgian khachapuri-bread, and a glass of terrific Georgian Saperavi-wine.
When it comes to wine, truly every other country can just step aside, since Georgians, they wipe the floor with everyone else’s tasteless liquids. Their eight thousand years of winemaking history make them the best wine country in the world.
Yes, but. That was that. My day off. Some culture, some politics and some food. Yet, never did I feel as lonely as on that day, walking alone through the galleries and streets watching people having fun together. I’m not much of a socialite myself, and although I do enjoy company, I’m not amazing in crashing into an outside company. I’ll rather sit back and read my book and observe than push myself on others, but that does leave me feeling quite outsider.
Ah, well. Hotel room was inviting and I enjoyed a good rest after the day.
So I woke up at healthy 4:30am, but to my great surprise, Annika was still up, so we hooked up via Whatsapp and shared a nice three hour phonecall, rambling through everything in our lives, futures, pasts, our theories, ideas, jokes… A nice way to spend the morning hours. After she went back to bed, I dragged myself to breakfast, enjoying a hefty plate full of all things unhealthy, then back up and to bed.
Finding lunch is not easy around where I am. The whole area is centered around a bunch of big hotels, and all the services are crafted to serve the customers of the hotels, so the prices are high and quality low, as it usually is with services for tourists. So it takes quite a challenge to find a spot to enjoy a decent, local, delicious and not-rip-off -priced meal. For me, there’s two options: the good old McD, which is boring but quite secure, and then a small noodle place just around the corner from the office.
This place is amazing. It’s literally five tables and a chef -type of an establishment, which serves nothing but a cup of beef noodles, but it’s a huge bowl and the noodles are delicious. It’s also one of the few places I can get a smile from the service, there’s a pretty Chinese girl sometimes behind the counter and maybe it’s because she’s not jaded enough, or she’s genuinely enjoying her job, but it’s a rare occasion to see a service person here who doesn’t hate the fact you enter their establishment and try to acquire their services.
Back at the office, there wasn’t too much for me to do. We had decided to focus on two bigger sequences, but it turned out they were pretty fast sorted out – the other one was easy, just cut it in half and we’re done, and the other one we can’t do too much about, until we have some rudimentary post-visualizations to see how to go about the scene.
Filmmaking consists of three stages of visualization. Usually, the first is the storyboard. It’s a rough, or sometimes more elaborate, sketch on what shots you need to shoot during the production period of the film, i.e. during the shoot. My approach to storyboards is quite free: you draw them, but then you rarely look at them again. The information you have lodges into your brain and once you start shooting, you’ll follow your memory or intuition to shoot the scene. My DOP for sure follows them a bit more closely, to make sure we have all we need, but for me, it’s more a way to draft out the film in my head, but the real thing happens on the set.
Sometimes, to make sure you’ll shoot a complex scene correctly, you’ll need a previsualization. The previz tells you in much more accurate detail what shots you need, and what kind of plate shots you need to acquire a shot. Say there’s a scene where there’s a car crash on the road with our actors going around the damage. Previz shot tells you to shoot a plate with just the cars and the stunt drivers, a plate with just the accident, and a plate with the actors on a trailer reacting to it. It tells you in exact detail what size of a shot you need, what lenses to use, what angle to choose and how to blend it all together. Very helpful, but needed only for the most complex bits.
Then, there’s the post-visualization. That’s what happens after the film is shot, and edited together. Post-visualization is, by definition, made to help the editor cut the film correctly, so it’s a rough, usually animated sketch of an upcoming VFX shot, which is inserted in the cut to make sure the pacing is there, that the needed shots are in production. Sometimes, post-visualization may serve as the basis of the upcoming final shot, too.
After having watched Iron Sky: The Ark few times over, I did realize we are in dire need of some post-visualization for the ending bit. What we’ve shot is merely a brush of what we need, so there’s that to be done, but we decided to leave it for later, it’s better to do that face-to-face with the VFX supervisor.
But that’s going to be one hell of a scene.
Afterwards, I let mrs. Fang to start going through the film, snipping, tucking, nipping and fiddling with the details, and headed for the wild Saturday night of Beijing. First, I had a super stylish haircut in a nice salon, then, went to H&M to buy some socks and T-shirts of which I’m running out, and then agreed together with Chinese clothing market that they don’t make clothes that would ever, in a thousand years fit me. Their XL is well, not the European XL.
Last thing for the night was to head over to the very heart of the business center of Beijing, where the huge skyscrapers and massive malls, with names like China World and World Trade Center line the streets. After spending time in the Hutongs and different parts of Beijing, the business center is the least interesting and most foreboding part of the city. There’s so much money floating around there it makes me feel sick.
I met with my amazing assistant David to talk about our post-shoot life for a burger at Blue Frog at China World Mall. Despite being a horrible mall with horrible shops and people all around – and man, the Chinese like to dress up to show off – the burger was good. We had a nice chat with him, and he was talking about his wishes on becoming a director one day (I can’t understand, after what he went through as my assistant during the shoot, but every man has to make their mistakes themselves, right?), so we chatted a bit about that.
Then, it was time to head back to the hotel. I crashed almost immediately, after a short chat with Annika, and slept like a little baby until wee morning hours.
After the initial screening and first round of feedback, we crawled back to our edit room and started going through the notes. I had written a good handful of notes myself, that look like this:
(SCENE NAME) is too long. Let’s get it out faster.
(CHARACTER NAME) introduction is not interesting enough, his personality doesn’t come through.
(SCENE NAME) beginning is a little bit of a stumble.
(SCENE NAME) is probably in the right place; rather long, though. Wonder if we can shorten it somehow?
In addition to this, Max had made his notes, in Chinese, which were then translated and sent out to me. Pretty much we agreed on most of the things, save maybe few things on which I believe to be important he thought not so much, and vice versa. But still, pretty good and consistent feedback which will help to make the film better for sure. The important stuff was that we both were willing to give up some scenes we might’ve thought having been very central to the story, but in the edit didn’t really bring anything we would’ve missed.
Well, at least we have some cool stuff to throw to the extended cut we’ll put out on a DVD later on.
Other than that, that was mostly it for the day. I had caught something that felt like a slight brush of flu, although I mostly blame the pollution out there, so I headed home and basically crashed at 7pm, waking up not before 4:30 am.
Video of the day!
Back in October, I tortured my driver by blasting Type O Negative loud and clear as we drove across the city between shooting locations and hotel.
For quite some time we have been working with mrs. Fang to put together a version of the movie to screen it to our producers, and yesterday was the day. We gathered into a small screening room at Jiabo and blasted away. In addition to Max, our line producer mr. Zhu was there, Tanja our post production coordinator, as well as writer, mr. Yu and of course me and mrs. Fang.
My feeling of the film is that it’s definitely getting together nicely. The pacing of the first third and last third work pretty well, there’s still some solving to do in the second act, but it’s not so much about how to make the story work but what to leave out of it. It’s a shame to cut good stuff out, but if it stops the flow, it has got to go.
After the screening I was hoping for a round of feedback, but since we don’t have a good translator anymore with us, Max decided to ask mrs. Fang to his room and gave it directly to her. When she came back, she – still recovering from the flu – was quite beat, but deciphered some of the thoughts the producer had, and now our task is to start tackling them. I also had a good heap of notes, some smaller some bigger, to make things better but most important factor is: the general direction is correct, now we “only” have to cut, paste and cut again to make the whole thing together so that when you watch it in the theatres, you’ll feel that it’s all one full piece.
Just as I was about to head back home, Tanja stopped me and told we’re actually to have a dinner with our VFX department! I had totally forgotten it, and before the dinner I would need to visit a mall to get myself a new portable speaker since the one I had – Bose SoundLink II – got lost on the last shooting day in Qingdao.
So we hopped on a taxi and then, well, got introduced to Beijing traffic. It’s quite an infamous thing indeed, but literally, we sat in an unmoving car for 40 minutes until we decided it’s better we just pay the driver, get out and wiggle our way through the traffic on foot to the mall.
I found my new speaker at a Bose store, Bose Revolve Plus, and managed to get it some 60€ cheaper than from Finland, so it was a bargain. But to get back to the traffic, that was out of question, so we decided instead take the subway. Now, there’s another thing that’s quite crowded in Beijing, but surprisingly – I was expecting Moscow or New York -style old rattling subway – the underground is really sleek and modern. And very, very crowded. But definitely much handier way to travel through the trafficy streets than trying with the car.
Our restaurant was a brilliant hot pot place which served a feast to remember! Our VFX company brought in the boss of the company and bunch of people from the production pipeline, and we ended up having amazing conversations on human origins, sexuality (!) and visual effects. One topic was the Oscars – I asked how they felt about VFX Oscar going to Blade Runner, and some thought it was deserved, but some agreed that the apes of Planet of the Apes were technically quite staggering as well.
After the brilliant dinner me and Chris took a taxi and headed for quick drink at the small alleys close to where he lives, to a small comfortable bar which had some live music. We unloaded quite a lot about the production and the shootings with him, and while we agreed our shoot was quite heavy, Chris mentioned the two ones he was supervising before, and they sounded even crazier.
For example, I didn’t know that a production can have toilets separate for men, women and Hong Kong crew.
At home, I called my dear wife and spoke a good hour with her about this and that, until dozed off for the first time in a semi-decent time.
China Film Group is China’s biggest and most influential film enterprise, which distributes, produces and finances films for China market. With Max’s connections, we’ve created a good relationship with them and they have supported Iron Sky: The Ark from the beginning, which is imperative for the film to succeed. On Wednesday, we paid a visit to them, talking about films and also their recent trip to Finland, which hopefully comes fruitful as there’s a planned co-production agreement being drafted between China and Finland, making official co-productions easier.
After the meeting, me and May, our Canadian-Chinese co-producer had a nice chat, and her sons joined us for the dinner at a great teppanyaki restaurant at their hotel. Mrs. Fang the editor was sick for the day so there was really nothing much to do. I spent lengthy afternoon watching a terrible hotel band playing with broken equipment very badly some classics until it was time to head back to the hotel and chill. A glass of wine soothed me for the first time into a decent night’s sleep, hinting that slowly the jetlag might be over.
Video of the day!
Back in the Containeryard, we did some serious container Tetris.
Sound people love their sound equipments and get slightly nervous when you don’t respond to their enthusiasm, and sales people get slightly nervous when you don’t respond to their sales pitches. That’s the reason I usually try to be excited about some tech I have no idea about when being presented with, or nod along and ask questions when sales pitch is being presented to me, but yesterday I just couldn’t get there. I had slept two hours in the night, in one hour blocks, so I had this constant pressure around my skull which made me more quiet than grumpy than usual.
It didn’t help that I had again encountered a masterful example of shitty Chinese customer service. I had decided to, instead of my usual McD lunch across the street to head over to a place which called itself something like Old Style Beijing Lamb Hot Pot. Unfortunately, around the hotel the restaurants and services are pretty often crafted for the hotel guests, so the prices are ridiculous. I was watching the prices and decided to want something that they didn’t feel like doing to me, and after a bit of “meiyou-meiyou” I realized they wanted to sell me something more expensive than what I was picking, and looking at the 200RMB bill that would’ve got me to, I decided to cancel the whole order and walk out.
Luckily, there’s also a a delicious little noodle place just around the corner from the office, so I went there and grabbed a 22RMB bowl full of delicious noodles added with a service which – unlike usually anywhere – included a smile to the paying customer.
At the office, I had a clear plan of trying to figure out the midpoint of the movie, but somehow we got stuck trying to solve a scene which actually was already in a pretty good shape. We fiddled around the shots and tried to come up with a way to make them all fit differently, while avoiding the actual problem of the 2nd act we had been battling it, and by the time we had to leave for another sound company meeting we were all quite lost on what it was we were even trying to do.
The visit to the sound company was, as I told, a tech demo and sales pitch, to which I didn’t really respond very much because my mind was working on the edit, and I saw mrs. Fang going through the same process in her head. We were both miles away while Max and the sound company people discussed options, and while there’s nothing I can really say whether this or that is better in sound as long as it’s Dobly Atmos and all that stuff, color grading suite would’ve been of great interest to me. Yet, we couldn’t visit the grading suite, which indeed was disappointing, so we left home not much wiser than when we came in, but it was good to meet the people and see the admittedly professional facilities (although, having worked with Rotor in Babelsberg, Germany, everything looks tiny compared to their massive mixing/grading suite…).
As we were leaving, our original plan had been to head back home or hotel, but since we both’s minds were working on the cut, we decided to give it a few more hours. We went back to the office and opened the cut and started to really work on the actual problem of the second act.
What I did was I gave each scene a name and placed them in front of me. Soon, just by looking at the scenes, I realized what was the issue: by naming the scenes I noticed a certain description following up with each, and that I was able to identify as the problem. It wasn’t really so much what happened in the scene, but the rhythm of the events inside the scene. It all become rather predictable, and we realized that in order to keep the audience entertained, we need to keep them constantly on the edge of their seats, surprised and wondering what would happen next: never let them get lulled by a familiar rhythm of events. Find the surprises; like the editor of the first Iron Sky once taught me: get in the scene as late as possible, and get out as quickly as possible. It’s a general golden rule in editing, keeps the viewers on their toes and the filmmakers just one step ahead of them.
So we started to kick around an interesting idea which came to my mind when we were trying to solve the pacing. The idea would change the actual script a bit, but it sounded like a fun aspect to look at, so we decided to give it a try. I gave mrs. Fang the instructions to try this crazy idea out, and decided to let her work on it by herself and headed back home. Well, New Otani hotel, that is, but anyway. As close as I can call it home..
I had big plans to just quickly change and head over to enjoy the Tacos at Taco Tuesday, but my tiredness got a hold of myself and I crashed on the bed, only to wake up six hours later, at 1.30 am. No more sleep for me for tonight, but at least I feel slightly more rested than yesterday.
I’m an avid Oscar-watcher. Every year since 2008 I’ve always tried to watch every contender in every category (save Best Song, which I think is a dumb category), and I do it because it’s a good incentive for me to go out to the theatres and see some of the most remarkable movies of the year. Also, I enjoy watching the show. I think the people look amazing over there, the production values are top notch and the political twist the Oscars have every year is fun, sometimes even remarkable. Also, it’s a great look into American culture: this is what American TV-entertainment is, every day, throughout the year. Once a year is enough for me. It’s really, really exhausting.
Having said that, the unfortunate fact is that this year, the Oscar ratings dipped to all-time low, marking fourth year of steady decline since 2014. Apparently, something is wrong. And there are many reasons: the awards season is packed with all kind of shows competing on importance, and many have managed to gain foothold in the recent years. Also, the competition is more fierce: how to get people dragged away from their games, sports, other shows, Netflix, Amazon, Hulu – for four consecutive hours? And last, but not least, it’s a 90-year-old TV format, which hasn’t practically changed at all during those ninety years, how can you expect to keep the attention of people of nowadays?
So, for the Academy, I have compiled here a list of changes you need to do in order to get the show back on track for next year. Let the new era of Oscars begin.
1. Algorithm it! What the hell are you doing with this ages-old secret Illuminati-type organization called “Academy”, when you can go full-on Orwell, create a secret yet always changing algorithm which creates an infallible system on which you choose the films for each category.
2. Gamify it! I mean, a real competition, that’s what’s popular nowadays. Let the academy choose each category contenders, but the audience to choose the actual winners. And don’t make it boring: make them reprise their whatever role it is: actors performing their roles, directors directing, sound designers creating their sounds… Live. That’s sexy nowadays. Like American Idol. That shit sells. And cooking shows.
3. Optimize it! I mean, it’s totally possible have different set of films, awards and presenters for each group out there, all you have to do is just to optimize it based on the person’s political views. Current Oscars are missing the apparently massive amount of Americans who support Trump, NRA, school shootings, racism, sexism and all that stuff -so why even bother showing the current format to them. Better yet, just create your own presenters for every different segment, and it’s all much better and nobody needs to get upset.
4. Make it a journey! Customers need to be brought to the new media in a completely new way. You have to start making the Oscars a journey for the audience. You have to add an Augmented Reality layer on movies, where one can start awarding their Oscars right when they watch movies. They form Teams and then you can all be #TeamShapeOfWater or #TeamThreeBillboardsOutsideEbbingMissouri on the social media and make it a fight that lasts not just one night but the whole year.
5. Geofence it! There’s something Americans will never believe: we still love you. We want to see your award ceremonies in Europe, so start selling those advertisements locally so that we have a chance to watch the show everywhere. And no, even if you sell it to say China broadcasting, it doesn’t mean China broadcasts the show live, which is kinda the idea, really.
6. Micro-Momentisize it! Would you like to know more? Do I need to say more? People want to spend time with your show, but four hours is quite a long time. Make it possible for them to do so at their own pace, base don their own interests. Just remember to add a nice price tag to every click and split the revenue between presenters and award-winners so everyone can make this into a nice dog and pony show for their paycheck.
7. Build Some Smart Content! We want to feel special, right. Wouldn’t it be nice if the winners would say: “…and I want to give special thanks to Timo, who made it all possible for me.” I’m sure there’s an easy tech fix for that, just scan the nominees and make them come wearing a green hood over their heads when they pick the award and everyone can be mentioned.
These are just some of the brilliant ideas I think would really spark up the Oscars. So, see you next year, and feel free to call me in for more terrific consulting. Oh, and the buzzwords are stolen from this website. Thank you Isabella Andersen!
I tried sleep again, but it turned out to be impossible. I managed to nap one hour before 9am, when it was time for the Oscars, which I streamed using a really snappy, crashy stream. I managed to watch only half of the show until the whole stream finally froze and nothing was to be done anymore. From what I was able to gather, it was quite an uneventful show awards-wise, but much was said on stage which will stay in history. I guessed 12 of 24 Oscars correctly – Actor, Actress, Animated, Cinematography, Directing, Short Doc, Edit, Makeup, Music, Best Film, Production Design and Adapted Screenplay.
After the show I went back to the office and we watched the whole film from start to finish. It’s shaping up. There’s still too much talk in the second act, which I will have to get to flow better, but the beginning is good and ending will be good once the VFX start to shape up. We discussed this with mrs. Fang and agreed pretty much on everything, and then went for a meeting at one of the possible sound post production facilities rather close by, in the Russian quarters.
I suddenly got this terrible craving for good Russian dinner; maybe some borsch-soup and some unapologetic meat dish accompanied with a total balalaika show. I’m going to have to find out what’s the best Russian restaurant in Beijing, and head over there. Report will follow.
Then, back to the office. We started to work a bit more with mrs. Fang on the edit, and had a chat with Max about the cut as well. We agreed to work tomorrow and then show the film to him and discuss what needs to be done.
I’d like to reiterate my theory on editing. I said it’s the art of compromising between story and flow of the movie, but that’s actually not the truth. It is in fact a compromise between the effort and the flow. Every screenwriter puts a lot of effort into explaining everything in the script. The actors and director work hard on scenes, taking hundreds of takes over the period of the production. The cinematographer films thousands of hours of material, and the set designer creates huge sets that are filmable on every angle. It all takes a tremendous amount of effort to make it happen, but ultimately, it’s the flow of the movie that counts. For the sake of flow, everything is discardable: that one amazing take we worked so hard to get; that incredible dialogue the actors had on the set; the huge backstory which was explained over a series of scenes we shot for days… But if they kill the flow of the movie, they have got to go. But it is a compromise: sometimes that one shot really is worth brining it into the story, even if it doesn’t really serve the flow – this is, in the end, a movie and people come to theatres to see also beautiful imagery. Or this piece of backstory needs to be inserted in the story, even though bringing it up might really exhaust the viewer. And the art comes in balancing between the compromises and making it feel for the viewer that nothing could’ve been added into the movie, or taken away, to tell the story in the format it eventually lands in the theatres.
As I said, we started out the first cut of the movie at 160 minutes. Our aim is to try to squeeze it into 110 minutes, which means we have now – as the film is about 118 minutes long – cut 50 minutes of shot material. I’m actually known by my producers as being quite a ruthless director when it comes to editing. I might find myself taking out even too much, but that’s also because I think films are nowadays easily too long, and usually the shorter is better. Also, when you take something out of the cut you’ve been watching so many times, you may feel it’s suddenly fresher – but it’s fresher only to you. You have to try to place yourself in the position of the viewer who comes in having not seen anything. That can be sometimes really tricky.
And of course, there’s always the question of economics. If you’re going to cut 50 minutes of the film, why shoot those 50 minutes in the first place? The trick is really knowing which 50 minutes you will cut and which you will keep. Shooting a film is just agreeing on a script and then covering it as lavishly as possible, keeping in mind your resources, and grabbing as much material as possible, so that you can then bring it to the editor and make a film out of it. With the screenwriter, you have to try to find out what are the absolutely necessary scenes to be shot, but even that is usually just a guess – only on edit you actually see if these scenes are necessary or not.
It’s interesting to see how it all comes together. Also, it’s interesting to see how certain characters become more important than you thought when shooting, and some characters become more like side characters, ones you thought will have a big role in the film. The whole editing is in fact the most interesting part of the filmmaking, because that’s when the movie reveals its’ true self.