A friend of mine, Georg Janett, perhaps Swiss film's most senior and
foremost film editor, once told me that editors cannot afford to have
a personal style in the sense of authorship. This primarily because
the editor's work a) primarily consists of what you DON'T see on the
screen, and b) is so closely tied to the requirements of a particular
film project and the wishes of the respective director that it would
be counterproductive. And yet, I remember reading somewhere - maybe in
one of William Goldman's books (don't quote me on this) - that Dede
Allen was the preferred editor as far as working with a moviola was
concerned, in the days prior to digital cutting.
Any views and ideas on this?
Henry
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