Wes Anderson's Editor Breaks Down His Unique Style
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- čas přidán 22. 05. 2024
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0:00 - Wes Anderson's Longtime Editor, Barney Pilling
1:38 - How Wes Anderson Creates His Signature Timing
6:30 - Building A Sound & Music Bed First
8:45 - Creating New Frames for Depth
11:53 - Use Riverside
13:10 - Re-Composting in EVERY Shot
19:03 - Use MusicBed
20:16 - Wes's Rumination on Grief
22:09 - Mixing Stop Motion & Live-Action
26:40 - The EXTREME Layering & Composting
29:25 - Wes Anderson's Favorite Storytelling Themes
Hosts: @HillierSmith & @JordanOrme
Guest: Barney Pilling, ACE
Editor: Peter Apple - x.com/Peter_Editing?s=20
Intro: Liam Bedford
Executive Producer: Vishnu Vallabhaneni
Thumbnail: @dvdaltizer
Additional music thanks to AllttA
Optimum by AllttA: open.spotify.com/track/3cKill...
In this captivating episode of The Editing Podcast, hosts Hayden Hillier Smith and Jordan Orme delve deep into the world of editing with none other than Barney Pilling, the master editor behind Wes Anderson's most iconic films. From the Oscar-nominated "Grand Budapest Hotel" to the whimsical "Isle of Dogs" and the recent masterpiece "Asteroid City," Barney Pilling's editing prowess has left an indelible mark on cinema.
Join Hayden and Jordan as they dissect key scenes from Barney's illustrious career, exploring the intricate timing, stop-motion mapping, and other classic Wes Anderson tropes that define his unique style. Whether you're an aspiring editor or a film buff, this episode offers invaluable insights into the art of editing and the creative process behind some of cinema's most beloved films. - Krátké a kreslené filmy
Love that even his house is symmetrical behind him lol.
Virginia Woolf wrote about her novel The Waves "I am writing to a rhythm, and not a plot". I feel that Wes incorporates this perspective in his filmmaking.
One of the most substantial stylists of all time cinema, imo.
Hmm, Interesting....Rhythm hits home when you think about it.
Brilliant insight thanks for sharing
@@EditingPodcast you're most welcome, thank you for doing what you do
You guys are doing a great jobs of getting the big dogs on your podcast. Love the insight into their world of editing. Thank you.
Our pleasure!
Now we need a Paul Machliss interview! I NEED to know how he edits for Edgar Wright. Especially on Baby Driver, where everything is edited to music lol
Cool to see my shot in the opening sequence!
The fact this is free 😮💨 Such an interesting conversation. Keep them coming!
i put everything in one line (as what i think about it) wes anderson does what 90s animation artist use to do. PERSPECTIVE, SYMMETRY, ISOLATION AND FOCUS POINT.
i could be wrong but i am someone who watches movies after knowing who has directed and Wes has been in my top 10 list of directors.
Yo what that's perfect! I just watched the four short films and ABSOLUTELY LOVED THEM!!!
One of my favorite episodes, I listened to it earlier and wow, I can't wait to translate all the aspects of timing to my own work
Imagine being a director and having all theese talented people create your film.
Thank You for this episode guys ,Much Appriciated
Incredible job on this interview guys. Thank you.
Wes Anderson, has become my favourite. BIG FAN OF THIS podcast since day 1.
Brilliant stuff!!
Amazing conversation, thank you for this
Marticulous
I was getting interested in the video, heard this word and did a double take, checked the dictionary to make sure I wasn't just ignorant, and then came back here to make this exact comment.
Really awesome interview! Great to spend time with someone who knows Wes' work so intimately.
What a fab cast! The obsessive eye, the attention to rhythms, the air…lovely insights
fantastic listen and really insightful on many levels
That was absolutely fascinating. I really learnt a lot from this.
Found your channel right when I’m struggling with editing my videos 😅 good stuff thank you!
Love it!!!! 🫶🏽
So amazing to have this kind of insight to iconic editing and storytelling.
Glad you enjoyed it!
I love this so much. What a fascinating podcast. Makes me really exited about filmmaking.
I'm no editor, yet I feel like, though it's not a metronome like with music, there's a common timing to thinking that's pretty universal, that editing plays with. We feel it, because we all have similar rhythms, even us neuro-divergent folk whose rhythms are just a tad different. Be we feel it when a pause is just a tad long. It feels as though there's more going on than just action/reaction. A long pause gives us room to take things in, to contemplate, to digest, rather than just react. I think that's what the term "pregnant pause" alludes to. Anderson's dragging out that scene lets us laugh at Scarlet's dramatic pose, then think, "wait, is this real? No, it's just her character acting. But is it? This is going on a while. What if..." and then she speaks. In a way, it's no different than the peeing shot in Austin Powers, that just keeps going on and on long after it's no longer funny, till the moment it's funny again because it's just so persistent, and then it cuts abruptly.
I think the same is true for the abrupt cuts, that don't give us time to even react. They convey that zero thought is going into the next action, and we laugh at the universal stupidity of human nature. Again, it plays with the rhythm of thought. We don't think about thought's rhythm, but we're always subconsciously aware of it. I believe this is why editors always describe editing as an instinctual skill. It can't be learned through explanation. It has to be felt.
Would love to see an episode about editing movie trailers!
Not sure why this ended up in my playlist but glad it did. Thought I'd maybe watch 1-2 minutes and turn it off but got to the end wanting more. What a great interview, Barney was a great interviewee.
great stuff
I find some of Wes's movies pretentious, and the critics even more so, but I also value his voice and vision and believe he is truly a breath of fresh air.
the first time I actually tune in when ad pops up
Haha, the cuts at the end got a bit out of control. One cut with jacket 2 without then 5 with :p. Hayden really tried to make sense of a lot here in post. Love this podcast, would love to edit for you guys one day :)
caught me off guard with that second ad break
The timings are very reminiscent of Harold Pinter's stage intructions to actors on how long pauses should be.
Got that Envato Ad with Jordan! Thought it was a sponsor segment
I've worked with Creative Directors that go through my motion graphics frame-by-frame; and I've worked with Creative Directors that trust my execution. (and still go through it frame-by-frame)
i think he can say he doesnt have a style because it seems to come down to more of an OCD thing, i think he feels compelled to frame things in a certain way. i do the same thing with just the things on my desk everything has to be in its perfect place, theres a strange balance between what is and isn't there and the space that should be between objects, some person could possibly come in and say i have a style to how i arrange things in my room or home/everything but i would never say that i have a style
OCD, a blessing and a curse
💪💪
See JL David’s “Death of Marat”! WA seems to have been inspired by the mis en scene
asteroid city deserves an oscar
bor I got the envato add with Jordan orme!
Lots of great invisible VFX which people would never have realised.
♥
That's why I hate those AI impressions of Wes filmmaking style. There's nothing remotely similar except maybe for some color palette used.
They are Spotted On!! Which makes the hilarious! His style is easy to replicate. Shoot everything flat on. Make as many symmetrical shots as possible. Use a lot of pastel colors. Make the actors downplay everything to a Deadpan level. Cut the movie into a series of “panels” to make it look like a storyboard.
@@blaster-zy7xx Yeah noo. You missed the point entirely. Have you even watched the video? It's about the timing. But think all you want, if you don't see it, you probably never won't.
im flirting with astroid city being wes's best
You may be right. I lean towards The French Dispatch though. It's one of the only movies I've watched through with my jaw on the floor and immediately watched againm
Asteroid City is incredible but for me it wasn't an enjoyable experience.
Can someone please explain to me one thing: in more than one video (in this one too) they are against editing video to music, but they are promoting Musicbed which has purpose of providing music for editing (basically editing to music). Why are they so against it? Not everyone can pay a compositor or music producer to make music for a video.
Hey Juro
To clarify, Hayden considers an advanced technique is to be able to create the scene and the story without the use of a music track, and to then find a great track on licensing sites.
This is to avoid having the editor edit the scene to the music and instead have the music be edited to the scene.
The context is that if you put down music first, then edit to the music, your edits will be influenced by the mood of the music. Your cut pace, your trims, and your timing will be a reflection of your music bed. You cannot put in a temporary music bed, then edit to it and hope you can replace the bed later on, because your edits already picked up the subtle cues from the temporary bed. There are times where you want to edits to pick up the rhythm of music, and there are times where you'd like the rhythm of the dialogue to be the driver. In my opinion, the most important thing is that this is a conscious decision by the editor, not an accident.
Bro, they're just talking about 'priority'. Many editors give music too much priority and kinda neglect proper pacing and other things! both of them say music is super important but in the cutting stage when you're building a story avoid editing to music!
Thank you all for answers.
Hayden is wrong by the way. If that works for him, then fine, it also works for Eddie Hamilton, but there are many, many, incredibly successful award winning editors who are quite happy using temp tracks. I’ve just cut a three part documentary series for a national broadcaster where I live and half of it I it clean and the other half I knew exactly what rhythm and pace and emotional weight I needed and what music needed to go with it. I got zero notes on my choice of music from either the producers or the commissioners. My point is, it’s not a mistake to do it whichever way works for you. If you get the cut right you can listen to it with or without a bed and it’ll still work.
The daughters were composited?! Oh wow.
22:40 He even edited out his own coat and put it again at 26:40 in the take 4 of this video.
P.S.: Plot twist, even the frame of the three girls didn't exist in the original comp.
"Marticulous" -- Is this A.I.?
Wes' style is Ctrl+E and Ctrl+J
Style over content. His movies look like the kind of thing a film student would make as part of a school project.
40% sarcasm: saying you don't have a style is like how many US americans say they don't have an accent
Marticulous!? 😂
😅
You can and should play jazz with a metronome, kids. Don’t be fooled.
I thought it was hilarious in "Asteroid" how they must have thought, "We've got Scarlett and everyone is gonna wonder if she's ever gonna be naked", so they decided, "yeah, let's just do it" as if they couldn't be bothered to even talk about it, so in the middle of a sequence she just drops her towel, and they cut away for maybe a half-second nude scene. And of course it wasn't her. So they got a completely gratuitous nude scene supposedly of the most beautiful woman in movies, check, move on.
It kinda meant something, but it was kinda just something.
This makes the idea of editing films a lot less intimidating.
Less? Are you kidding???
hahaha-the choice in pausing was EXACTLY how long a seasoned viewer would suspend their conclusion about what they're seeing-and finally decide in their minds they are witnessing a women overdosed in a tub and a man talking to her "somehow" unaware or just not caring but talking nevertheless to the dead woman-----------ONLY to be SLAMMED with the ('glove pulled off hand slowly, finger by finger) --slapped across face' how DARE we assume.. haha-touche
wow. two embedded ads. just nope.
he probably should have just said rhythm instead of metronome lol
retiming...I doesnt even know what this means..
Wes' style is just sticking to conventional filmmaking techniques. I like his films, but I tend to agree with the man when he says he doesn't have 'a style.'
All that work and Asteroid City was kinda meh. It was a very "and then" movie with interesting characters, and an interesting setting, but it left no real impression on me, other than it having a distinct look.
"His marticulous style and technique" - his what now?
There was a time when they would cast kids who could act together in realtime. None of this SFX nonsense.
So basically Anderson does nothing, and can't even articulate what he wants done.
🤣💀
This is all just a waste of time
That or he has it perfectly planned out in his head and can't get it out the way he's envisioning
Crazy, Movies aren’t made by just one people? Also, Who do you think is selecting the talent and production? Say the man’s job title at home and do some math to figure what he does 😂
Avid.? And I bet you drive a model T. car. What’s wrong with you people… Why aren’t you using da Vinci resolve… Thousand times more powerful than Avid!
Wes Anderson is basically imitating the mood of Fellini's films and his visual style has gotten insufferably repetitive. Lame.
Overrated hipster bullshit.
Pretty much all of wes anderson's films are utter, utter garbage. Yes, they look cool for half a second, but they are substanceless, unintertaining, yawn-worthy childish bullshit.
waaa waa waaa im a little baby waaaaahhh!!!!!!
@@BlackReaperGames exactly what you'd expect from a wes anderson lover