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Introduction

Roy Perkins

Roy Perkins

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British Film Editors : “The Heart of the Movie”

British Film Institute, 2014

Book

2

...What actually is the editor’s contribution to a film? Walter Murch, the American editor of Apocalypse Now (1979), has been described by Francis Coppola as ‘the essential collaborator on what are probably the best films I worked on:...

Editing, Authorship and Collaboration

Roy Perkins

Roy Perkins

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Martin Stollery

Martin Stollery

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British Film Editors : “The Heart of the Movie”

British Film Institute, 2014

Book

0

...Problems of Recognition 1 Our work is by and large unnoticed and consequently misunderstood. Tariq Anwar, editor, The Madness of King George (Nicholas Hytner, 1994), American Beauty Film editing, considered by director and editor Stuart...

Aspects of British Editing from the Beginnings to the 1950s

Roy Perkins

Roy Perkins

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Martin Stollery

Martin Stollery

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British Film Editors : “The Heart of the Movie”

British Film Institute, 2014

Book

1

... occasionally gave editors who wanted it the opportunity to direct. Towards the end of his long tenure at Gainsborough Alfred Roome co-directed My Brother’s Keeper (1948) and It’s Not Cricket (1949) with Roy Rich. His colleague Terence Fisher...

The Film Editor’s Role

Roy Perkins

Roy Perkins

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Martin Stollery

Martin Stollery

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British Film Editors : “The Heart of the Movie”

British Film Institute, 2014

Book

0

...Some Common Misconceptions I suppose it’s the old back-room stuff, the cutting room floor, people who cut things up. In fact what we do is exactly the opposite – we build things up. Mick Audsley, editor, Dirty Pretty Things (Stephen Frears,...

Appendix: Selected Filmographies

Roy Perkins

Roy Perkins

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Martin Stollery

Martin Stollery

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British Film Editors : “The Heart of the Movie”

British Film Institute, 2014

Book

2

... 1940) The Stars Look Down (Carol Reed, 1939) This Man in Paris (David MacDonald, 1939) This Man Is News (David MacDonald, 1938) Who Goes Next? (Maurice Elvey, 1938) Father O’ Nine (Roy Kellino, 1938) Catch as Catch Can (Roy Kellino, 1937)...

Aspects of British Editing from the 1950s Onwards

Roy Perkins

Roy Perkins

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Martin Stollery

Martin Stollery

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British Film Editors : “The Heart of the Movie”

British Film Institute, 2014

Book

0

...Freelancing became the normal mode of employment for British film editors in the latter part of the twentieth century. Rather than being assigned projects from the production schedule of the studio they worked for, editors were increasingly...

Stylistic Developments

Roy Perkins

Roy Perkins

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Martin Stollery

Martin Stollery

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British Film Editors : “The Heart of the Movie”

British Film Institute, 2014

Book

0

...Hollywood Craft Standards and the Influence of Soviet Montage None of the editors interviewed for this book felt there was a distinctive British style of editing between the 1930s and the 50s. Most suggested it was more a matter...

The Future of Editing and Technological Change

Roy Perkins

Roy Perkins

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Martin Stollery

Martin Stollery

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British Film Editors : “The Heart of the Movie”

British Film Institute, 2014

Book

0

...Press the wrong button nowadays, and something magical might happen. Peter Honess (2002), editor, LA Confidential (Curtis Hanson, 1997)The Changing Background Nothing in the history of cinema, except for the coming of sound, parallels...