Fresh from cutting Niko Caro’s The Zookeeper’s Wife, starring Jessica Chastain and Daniel Bruhl, LA-based awarding-winning editor David Coulson ran a two-day Editing Drama Workshop for DEGNZ in Auckland. It was an intimate and highly personal insight into David’s editing philosophy and practice for the editors who attended.
Last updated on 26 February 2018
This weekend DEGNZ is running a two-day workshop with award-winning film editor David Coulson. David has a working relationship with director Niki Caro that has seen him edit her last five films, including her latest The Zookeepers Wife, starring Jessica Chastain and Daniel Brühl.
While looking for background information on David I came across an article from a Script to Screen session that was hosted by DEGNZ member and director Leanne Pooley with David and another DEGNZ member, editor Cushla Dillon.
A few comments that David and Cushla made jumped out at me:
David (on letting the writer into the edit suite):
“The writer and I are fundamentally connected, the two processes are inter-related, but when I am working in the suite, that ends. It would be like inviting a thoroughbred horse into a slaughterhouse because what is going on in there can be mercenary and seemingly destructive. I take scenes the scriptwriter saw at the end and put them at the beginning. I’ve chopped scenes in half and put them in different places. It’s the last stop before this thing rolls out the door for the rest of its life so you have to be open to some of these seemingly destructive possibilities because new things that might not have been envisaged can come from that.”
Cushla (on rhythm):
“My response is purely to the material,” said Cushla. “The script is just a plan or a draft. I read a lot of scripts and when you read a great one, words just roll off the page and you don’t stop and think about how it will all come together. The writer has written a great script – and here’s a tip for writers! Read good, well written scripts, look at how the writer inserts the details without dictating to me how I will cut a scene. I look at how the images respond to each other, taking time to consider and meditate on all the images and the work of the craftspeople involved in the shooting.”
David (on the responsibility of the director to honour the script):
“We always honour the process,” said David. “Someone has written something, then someone has filmed it and then we need to put it all together. To do that, we have to stand back. The script exists only on paper and it doesn’t have the cadences and rhythms of actors speaking or the extraordinary shots that make up a film. The script is the navigation point and we all attempt to faithfully re-create it.”
Cushla and David (on the boundaries when working with a writer/director):
“The editor’s role is that of negotiator,” said Cushla. “I see myself as the audience’s representative. I’m there to interpret the material I see so that it honours the script and the intent of the director but I’m also there to negotiate with the writer/director. If I think they’re not using the best technique to communicate or are a bit misguided, I’ll tell them. For new writer/directors, there is so much to learn and it is an intimate relationship based upon trust. Leave your ego at the door because we’re all here to honour the film and the story it tells. If things don’t work out it doesn’t mean you are a bad filmmaker but let’s use the skills we have to make the best film we can.”
David responded that it is different when the writer/director is there. “It’s hard to generalise because everyone is different but it can be tricky. Some writer/directors I’ve worked with are obsessively protective of what they’ve written and some are the opposite. We can come to a fork in the road: re-interpret a film and make it a good one, a different one, or do the best we can with an idea that really isn’t the best. Every decision that is made in the room has to be dealt with as dispassionately and yet as emotionally as possible, and that is a weird thing. I use humour in the editing suite, especially if the process is gruelling.”
I felt that these are extremely valuable insights for any team heading into a feature film, particular a debut feature. And they highlight a few of the many reasons why you should get the best editor you can onto your project. Thanks to Script-to-Screen for the permission to reprint these takeouts here.
Tui Ruwhiu
Executive Director
Last updated on 26 February 2018
I was at the Melbourne International Film Festival’s 37 South Financing Market last week when Graeme Mason, CEO of Screen Australia and former NZFC CEO, launched the final two parts of their $5 million Gender Matters plan—a $1 million incentive for distributors to look at and consider quality female-driven projects from the outset, and a fund for placements for women on scripted drama projects that have funding from Screen Australia
Two days later, the Australian Directors Guild held a discussion titled ‘Talking Pictures – Breaking the Celluloid Ceiling’, offering an opportunity to meet the women who challenge the notion that men dominate creative leadership in Australian feature film. The panel brought directors Gillian Armstrong, Jocelyn Moorhouse, Sue Brooks, Kitty Green and Sophie Hyde together to talk about navigating the highs and lows of being a female director in the Australian film industry. I was unfortunately unable to attend this but I did hear some opinions after, including a call for Screen Australia dollar spend to be split 50/50 between men and women.
Here in New Zealand at the guild we held two key discussions together with WIFT to look at gender issues in film and TV. From what we learned DEGNZ developed, got funded and launched the Women Filmmakers Incubator, which will start in September. Through five workshops across a 10-month period, the Incubator provides the opportunity for 10 emerging women filmmakers to develop their knowledge, skils and networks to help further their projects and careers.
To help address the gender imbalance in film, the New Zealand Film Commission launched the JC Cinefem Scholarship in 2015, awarded to cinematographer Maria Innes Manchego. Then in 2016, they announced the Gaylene Preston Directors’ Award, a $50,000 grant fund for one or more women filmmakers to advance their practice.
Behind the scenes at NZFC and in other screen organisations, and outside wherever their funding flows to, there is an expectation that there will be gender equity as much as possible in all things.
The above are baby steps that are seeking to address the systematic discrimination against women and their stories in film and television that has been going on for decades. We need to do more, and at DEGNZ we will continue to look for opportunities to do so.
In the meantime, Guys, get used to the idea that for the foreseeable future you are only going to be able to get a bite at 50 per cent of the pie—a situation for many that is long overdue.
Tui Ruwhiu
Executive Director
Last updated on 26 February 2018
Actors Jennifer Ward Leland, Tandi Wright and Actor/Director Michael Hurst revealed many valuable insights into casting, acting and directing thanks to the prompting of our fabulous facilitator for the evening actor/director Ian Hughes.
Last updated on 26 February 2018
The Directors & Editors Guild of NZ invites you to apply for a 1-day Rehearsal Dynamics workshop with story and performance coach Brita McVeigh. The workshop will be held on Saturday 10 September in Auckland.
Brita McVeigh is a story and performance coach who works with actors, directors, writers and producers in New Zealand, Australia and the United States. In less than a decade, Brita’s working methodology has contributed to the development of more than 123 feature film, short film, television and theatre projects. She is a regular guest acting tutor at Toi Whakaari: New Zealand Drama School and a mentor through Script to Screen’s FilmUp Mentorship programme – working with directors on how to deepen their working process with actors.
This workshop will explore the following:
All selected participants will be required to do some preparation prior to the workshop.
What: Rehearsal Dynamics workshop with Brita McVeigh
When: Saturday 10 September, 9am – 4pm
Where: TBC, Auckland
Free for DEGNZ members, $100 for non-members
Travel assistance will be available to some members coming from out of Auckland.
TO APPLY:
Please send your bio, filmography and a maximum one-page letter as to why you wish to attend in one document or PDF (not separate documents) to admin@deganz.co.nz by 9am, Wednesday 24th August.
This initiative is brought to you with the support of the New Zealand Film Commission.
Last updated on 26 February 2018