“There’s this freedom you have when you’re putting different images together to generate new meaning. You can generate tension by putting two innocuous images together to leave the audience slightly uncomfortable. We have some sunsets and sunrises in ‘All Is Lost’ that take on a malevolent tone, because of what has happened, juxtaposing different images, and trying to create a third idea.”
"In terms of my own work, if you get a feeling from something, it's probably working. You stay away from cerebral, and when you experience it, if it feels like something, then it's probably working in the way that you intended. You don't want to be thinking about what this storyteller is doing, or what these cuts are doing."
“Editing needs to be specific to a piece. Sometimes that’s long and languid and allows people to behave, and demonstrates great editing because it’s restraint. The opposite end of the spectrum is something that’s very kinetic, that is generating energy, or tension in a very particular way, because that’s what the piece requires. It’s a very difficult thing to judge.”
"I'm looking for one thing: transparency. I don't want to see editing. If I see it, feel it, something's wrong. That's what I try to achieve also. Sometimes it feels good to have a rockstar moment where there's music, silence, or two quick cuts. But you're not supposed to be aware of it; that takes you out of the story."
“You’re not trying to engage in emotional button-pushing, where it’s like, ‘This’ll make them cry.’ There’s nothing cynical about it. It’s what you feel when you watch movies, or any kind of art form, anything that elicits a feeling from you. That’s what you want: You want that feeling for yourself, and you want that feeling for the audience.”
"I'm most concerned about protecting the actor's performance, and working that performance around the composition of shots. I could have great close-ups, but I can't play the entire scene in close-ups. Where is my punctuation point? Is it better to be in a wide shot when a person is left standing in a room, or a close-up? What gives you more emotional impact?"
"As an editor, I'm evaluating performance more than anything. Like, 'Did they have to use that take, because I don't believe them, or it doesn't feel real.' Or I'll feel something's slow and wonder, could the editor could have moved it a little faster? But performance is mainly what I focus on. That is a huge part of the job."