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Back in Los Angeles, after a short rest for three days, Murphy came to a post-production studio in Century City in Twentieth Century Fox and began the post-production work of "Inglorious Bastard".

Post-production also requires coordination from multiple departments and teams, and the basis of all this is undoubtedly editing. It is no exaggeration to say that Murphy and any director's shooting are all for editing.

This time, the editing team of Murphy is still Jody Griffith's editing team.

Before editing, to be precise, Murphy had already had a very clear idea as early as when writing the script. Quentin Tarantino's movies would play many tricks on editing, especially the famous chapter plot. Although Murphy is not the kind of director who relies on traditional editing, unlike Quentin Tarantino, this film will definitely not use chapter plot. He will use a lot of parallel montages in the editing, which means that the final film of "Inglorious Bastard" will be presented in a multi-line narrative situation.

This time, all the work will be carried out around editing, and Murphy also made careful preparations for this.

Some people say, “The best editing is that people cannot find traces of editing.”

This is really the biggest misunderstanding of editing. It should be said that the edit that cannot be discovered is a edit that "makes ordinary audiences no barriers to receiving information", but it is not the best editing. After more than a hundred years of development, the editing has already had many aesthetic standards and possibilities, and its connotation is very rich.

Of course, as a commercial film and as much as possible to face popular movie fans, Murphy must maintain the smoothness of the editing.

Editing that is not "let ordinary audiences have no barriers to receiving information" is not a pretentious show-off technique, nor is it an obscure and difficult to understand.

If you want to maintain smooth editing that is acceptable to the public, the first thing to do is to determine the appropriate editing points for all shots.

The editing point is the conversion point between two lenses, including sound or picture. Accurately mastering the clipping point of the lens can ensure smooth lens switching. Therefore, the selection of the editing point is the most important and basic task of rough-cutting of Murphy and Jody Griffith videos.

The editing points of all shots in "Inglorious Bastard" can be simply divided into two categories: the first category is the picture clipping points, the action clipping points, the emotional clipping points, and the rhythmic clipping points; the second category is the sound clipping points, including dialogue, music, and acoustic effect clipping points.

In a video, most editing revolves around the characters' actions. The actions here do not refer to fighting, but to the characters' actions.

The action editing point is the coherence of the subject's movements. Although the action editing is also for a clear narrative service, it focuses more on the coherence of the external actions of the lens. The coherence of the action can increase the smoothness between the lenses.

Murphy and Jody Griffith are very important in the selection of action editing points, which will directly affect the effect that can be achieved in the final film.

The rough cut of "Inglorious Bastard" was divided into two parts by Murphy and Jody Griffith.

The first step is to work together. The teaming means using some lens combinations to create different kinds, giving people a different feeling.

Then the second step is to cut, specifically, control the rhythm, the rhythm and emotions of the entire film.

In movie editing, rhythm is very important, but as far as Murphy uses the technique in this film, everything still depends on the storyline and emotions. He and Jody Griffith agree that the most important thing in controlling the rhythm of "Inglorious Bastard" is emotions. What does emotions need you to do when they are here, and what changes or processing you can do.

During the editing process, Murphy hoped that he would try to maintain a relatively objective state, really treat himself as an audience, and truly feel the changes in various rhythms and details in the middle, whether the play is good or not, etc.

Whatever "Inglorious Bastard" is suitable for, then what techniques he and Jody Griffith use to cut, so that the audience can get into the role when watching it.

Relying on these, Murphy and Jody Griffith spent nearly half a month to get the rough cut. The next fine cut is more important and will directly determine the quality of the piece.

It can also be seen from the name that fine cuts are much more complicated than thick cuts.

Murphy wants to ensure that the fine cut is compact enough, the editing is tight but the scene is not too short, which means that it is necessary to cut off unnecessary pauses in the actor's dialogue, shorten the blank part in the middle of each sentence, and even subtract the lengthy and unimportant dialogue.

Most movie audiences generally focus no more than 150 minutes, which is equivalent to the length of a general mainstream commercial film. The rough cut version completed by Murphy and Jody Griffith is more than 300 minutes, and it needs to be compressed to about 120 minutes in the fine cut. If the movie lasts for two and a half hours or even longer after the fine cut, it will require "major surgery".

Unlike previous edits, Murphy's editing also uses temporary background music as an auxiliary.

This method can be used in special films like "Inglorious Bastard", but it must not be used as a normal way to edit. Once you like temporary music in the editing, it is difficult to find a suitable music that feels good. Murphy is usually more willing to edit powerful movie scenes and present it perfectly through proper editing. If a scene can stand firm on its own, the music will be icing on the cake.

"Inglorious Bastard" is just an exception to this.

In fine cutting, many aspects that are difficult to take into account when cutting roughly, such as coordinating the movements and the picture, and using actor gestures, props, sight lines or movements is one of the editing methods. The best way is to let emotions naturally flow, or cut out a smooth narrative rhythm. Technical editing is not the key.

The responsibility of editing is to allow the audience to be integrated into the plot.

During the shooting, there are many pure action shots and many action scenes. Murphy uses mobile shots to shoot, which also needs to be processed through fine cutting.

Moving the lens is the main way to shoot action scenes. Murphy has successively used track cameras, spiral arm cameras, camera stabilizers and Stenikons. The action scenes in the film must present a tense atmosphere. He and Jody Griffith edited the lens while the lens was moving, ensuring that one shot after another was in motion.

The action scenes cut in this way are more compact and make the audience dazzled.

During this shooting, some shots were shot with pure single lenses, but this was only part of them. Most other scenes continued his usual style and shot with multiple cameras from multiple angles.

When shooting shots from multiple angles are edited into the video, you cannot mechanically cut back to the same angle, or reread the same series of mirror positions used not long ago.

Of course, there are only two angles in a dialogue scene between Lieutenant Aldo and Colonel Hans, and it is difficult to avoid repeated editing.

When switching scenes with such multi-angle lenses, they also need to be processed. Murphy is in groups of three, and it can be longer after at least 1.5 to 2 seconds.

For example, Soshana enters Goebbels' banquet hall and looks around the scene. Murphy uses three edited viewpoint shots as a set of edited viewers, which can intuitively display the entire scene seen by the protagonist, imitating the real world to make the audience immersive.

In these multi-angle shots, the actors' eyes are the focus of the editing. The actors attract attention on TV, movies and stages with their faces, but the most important thing is the actors' eyes. When editing intense dialogue scenes, Murphy pays great attention to the actors' eyes. Do they convey appropriate emotions? How does the actors react to the play? The actors' performance determines the editing in this regard.

Sometimes, Murphy is more focused on conveying the main actors of the conversation and cutting out the reactions of others.

This is to exclude some irrelevant details in the actor's performance.

Murphy likes compact editing rhythms, which is obvious from the beginning, and excluding that it is necessary to maintain the rhythm.

Most actors perform exaggeratedly, beyond the right level, and the actors will emphasize pause, more errors than the script requires, and more stuttering for longer. At this time, appropriate editing is required to restore the performance to normal, cut out the lengthy movements and dialogues, so that the movie is real and not artificial.

Therefore, if an actor wants to win a performance award, the director and editor are also the key.

These methods serve to form a storyline for the film.

Some people say that there are three types of movies in the world: script type, shooting type, and editing type. No matter which type of editing, you must pay close attention to the storyline and do not be afraid to change the script or shooting content, as long as it makes sense.

Murphy has been using screen storyboard scripts to visually present the storyline, which can help Jody Griffith determine to present the story to the audience with the most smooth logic.

Finally, Murphy asked Jody Griffith to make his own choice.

Although the two have worked together many times, they must have different views on some plots and shots. Even the most successful director needs the assistance of an excellent editor, especially injecting some differences into it and correcting mistakes that the director did not notice.

Movies have always been the product of teamwork, and directors are just the helmsman in it. If there are problems in other links, they may also fail.

Having said that, are there people in this world who do not make subjective mistakes but cannot pay attention to them?

I think a director like Murphy will not review every shot in post-production, but will modify it based on the version of the edited performance of Jody Griffith, whether or not the actors' performances are appreciated.

If he does appreciate a different performance of an actor, he will suggest modifying the editing or finding the right part from the framing shot. The more the editing scene feels refreshed and presents the most convincing effect, the more the director will agree with the editor's skills.

Murphy and Jody Griffith continued to work in this area until late May, and then completed the first edition of the fine-cut, and it took a lot of time and energy to continue to trim. However, Murphy had to temporarily put down his work to participate in an extremely important premiere of Robert Downey Jr. (To be continued.)
Chapter completed!