Try me twenty years ago, and I’d bet you’d have gotten, “It is the sensitive joining of compositions that create a rhythmic presentation in image and sound, which portray an ordered spontaneity of events.”
Let me skip a couple of decades and answer the question framed by lessons learned from many years as a teacher, and I’d write, “it is the search for contexts to find the significance of specific images and sounds, simultaneously evaluated by values from film history.”
I think that all these “answers” can be correct; yet perhaps not exactly: This is true, because in very large part, film editing is story-showing discoveries only made possible in curiosity and humility!
Pratt Institute, The Actors Studio, School of the Actors Company; HB Studios, and New York Poets Theater Company
Editor, The Boy From New Orleans: A Tribute to Louis Armstrong; Touch: The Domain Of The Senses; The Music People; consulting editor, Say It Isn’t So; Judge Not; Color of Love; Five Wives, Three Secretaries and Me; La Maestra in the House.
Editor, Supervising Editor, Consulting Editor of Official Selections to many International Film Festivals: Aspen, Berlin, Cannes, the Hamptons, Karlovy Vary (Czech Republic), London, Montreal, Munich, Rotterdam, Sitges (Barcelona), Tel Aviv, Tokyo, and Toronto.
The Eye is Quicker; Film Editing: Making a Good Film Better; Setting Up Your Scenes: The Inner Workings of Great Films; Film School: How to Watch DVDs and Learn Everything About Filmmaking; ILLUMINATIONS: Memorable Movie Moments; Everything I Know about Filmmaking I Learned Watching SEVEN SAMURAI
Distinguished Artist-Teacher Award, School of Visual Arts; screenwriting judge, Nicholl Fellowships, Academy of Motion Picture Arts & Sciences; ANDY; CLIO