The Art of the Guillotine is a group of industry professionals who saw the film community’s need for a comprehensive resource of techniques, tips, ideas and links for other Editors. The Art of the Guillotine encourages the interaction of all visitors to build a resource for ideas and inspiration. We extend an invitation to film editors worldwide to give us your input and feedback; what would you like to see on AOTG, help us build our community! We can’t wait for you to join us in this on-going project!
1. Firstly thank-you for chatting with us. Tell me how Art of The Guillotine came about.
Not a problem. Art of the Guillotine started a couple of years ago when I was asked by a local university to come speak about editing documentaries. I gave the talk and throughout would reference current editors, theories that might be useful, and techniques I learned from the great doc editor John Kramer.
When I finished the talk many students asked me where they could learn more about these editors, techniques and theories on the Internet. I couldn’t think of any comprehensive pages so I began to search and amalgamate sites that could be useful for students. That photocopy list grew to a basic html website I threw together and then my good friend Richard started helping code php to make it more interactive.
2. It’s interesting as I think the idea behind both The Edit Forum and Art of The Guillotine both sprung from similar places. For me it felt like with the explosion of cheaper technology the craft and essential knowledge behind assistant editing was being lost. What about AOTG? Tell me about your philosophy.
I definitely agree, anyone can push the buttons but an editor moulds the story. My philosophy began to grow out of that initial day at the university. I personally believe that knowledge is a right and should be as easily accessible as possible. I try to encourage students to become editors that are as well-rounded as possible and really examine the ideas behind the cuts they make. Some editors are not fans of theoretical work and that’s fine, as long as they are challenging the ideas put forth in the script and the approach to the scene. Does it work? Does it push the films story forward? Will it have the desired affect on the audience?
3. And what has the response been from the wider community?
The response has been amazing! We’ve had letters from around the world from students and young people just making their way into the industry to retired editors who have worked on award winning films and television shows.
We want to work with associations and user groups and help them get the word out and so far they have all been extremely welcoming.
Our editing podcast, the Cutting Room has also really become quite popular and allows people to send and communicate with myself and others through email, twitter, etc.
4. Any stories to tell about your experiences with AOTG?
The story I love to tell is from my first year at Edit Fest. I was given an office on Universals lot to conduct my interviews in and when they showed me the office they said, “This use to be Hitchcock’s office” I was so excited. However, this was just an office that visitors use so I feel that this is just something they say to everyone who uses the office, something to give them a story when they head home.
5. Tell us a little about your own professional work.
I mostly cut documentaries here in Toronto. I shift between TV documentaries and feature docs. However, over the last year my focus has been more helping the editing community on an educational level. I’ve been helping the local university build an editing program and on my own time working on several articles for various sites, magazines and journals.
6. Why is editing so important to the filmmaking process?
It is the last stage for making major alterations to the story. If a filmmaker isn’t active in the editing process and doesn’t make sure their story is working at this stage they are out of opportunities to craft their film.
7. Is it an art form or is it a craft?
I would argue that this depends on the director or producer you are working with. I have worked on projects where it was very assembly line-esque. However, I’ve worked with some amazing producers and directors who see editing as an art form and allow the editors to really explore ideas and try things out and this is usually the type of environment I thrive in.
8. What is the industry like in Toronto, Canada?
Toronto at the moment is quite exciting. The Canadian Cinema Editors formed a few years ago and have really got the editors in this town engaged again. I feel we are at this perfect moment where the young editors just entering the industry are full of excitement and curiosity and the elder editors are wanting to share their knowledge and from these two areas this energy has developed where young and old come together to share ideas.
Just the other day, I attended the CCE AGM and afterwards a group of about 10 editors ranging from young 20’s to 60’s sat in a pub and discussed ideas. We had a cross section of feature film editors, TV editors all the way to corporate editors all talking about ideas and work. It is rare that editors that can work in very solitary and isolated environments have the opportunity to connect with one another and bounce ideas back and forth.
It’s moments like that one that gives me energy to build the site.
9. Any advice for those starting out?
It won’t be easy. But anything worth doing is never easy. You need to place yourself in moments where you can meet editors, go to local user groups or association meetings. If there aren’t any user groups or associations in your town or country start one. Then edit as much as possible, cut whatever you can get your hands on, use whatever software you can.
The best editors I know, you can hand them a pair of scissors and tape and they’ll hand you a film. Their real skills are in assembling the story and shaping it to create the most engaging final product they can, not in how absorbed they are in the technology used.
10. Bringing it back to AOTG. What are the future plans for the website?
We are always looking to get sponsors to help cover our costs (ensuring that our website and information can remain free for the editing community) and companies such as Blackmagic Design, Grass Valley and Focal Press have really stepped up to help us achieve this. This has allowed us to work to expand our systems and we hope to have our mobile apps out soon. We’ve also been in discussions with historians to have them build a full-fledged historical section that documents the history of editing.
2012 will definitely see some expansion of Art of the Guillotine’s systems so be sure to keep an eye on us and if there’s anything that you feel we are lacking, speak up so we can fill the gap!
Click here to check out the website Art of the Guillotine and find them on twitter @artguillotine
After the interview….
Gordon - BTW I wanted to mention the Australian Screen Editors as they are really doing some fantastic stuff and are building quite the community.
TEF - Yes they do, they put a lot of time and effort into industry training, I’ve been a member since July and wish I had of joined sooner!