The Eye Is Quicker: Film Editing: Making a Good Film Better

by Richard D. Pepperman

The most comprehensive book on the principles, methods, and strategies vital to the creative art of film editing.

Genres: Film, Nonfiction

350 pages, Paperback

First published January 1, 2004

Reviews

[Timeandmotion · Rating 3 out of 5]

This book about editing REALLY needs an editor. It can be extremely hard to read and very convoluted. I rather detest Pepperman's writing style and meandering metaphors. Not a good choice for beginners, because it seems like he expects the reader to know what he means without having to really define what he's talking about. We had to go through this book chapter-by-chapter in an editing class, and even with a regular feedback circle I didn't get much out of it.

[Alli Hogue · Rating 4 out of 5]

As a former full-time film professor, this was one of those books that sat on my shelf for years waiting to be read. But, because I was teaching -- and grading, and advising, and serving on committees, and organizing events, and dealing with both my own and students’ technical issues all the live-long day -- there just wasn't time to read it. Now I'm part-time and teaching online, so it was finally time to pick it up.

Thankfully, instead of showing me things I *should* have been teaching, the book has validated everything I *have* been teaching for the past 7 years. Examples:

"Whenever 'real-life' time (or space) is a primary editing pursuit you will be risking far more (serious) audience confusion than if -- through beats -- you establish a sense -- or texture -- of the needed psychological time."

"Don't only 'forget about matching action,' forget precise and realistic matching of anything! What is astonishingly elastic about 'film time' is that the most minor modification in beats can make all the difference."

"An understanding of how beats and rhythms motivate and establish subtext is fundamental to the editor's 'search' for actor performance."

So, it has ultimately helped me feel more confident in everything I've been teaching, and, if the academic stars align, will keep teaching every now and then.

That said, it could (ironically) benefit from an editor. The book was written in 2004, so I doubt at this point it will get one, but the author's writing style is often maybe a bit too...conversational? As you can see from the quotes, lots of dashes, unnecessary parentheses, etc.

Similarly, if this ever did get a new edition, it'd be helpful to have QR codes to the scenes he's trying so desperately to describe with just words and vague sketches of each frame. I honestly just skimmed over those sections looking for little nuggets of value. It's too hard to conjure in my mind's eye exactly what the scene looks and plays like.

The big question: do I recommend this as a textbook? No. Would I recommend this to anyone teaching narrative editing as a guide to structure lectures? Yes. Would I recommend this to narrative editors? It depends on how long they've been editing, most likely. More time editing = more time already spent finessing the skills he discusses. But for a newer editor? Sure. Why not?

[Don · Rating 3 out of 5]

The most common "mental hiccup" is triggered when a cut - made too soon after a movement begins - doesn't allow for an 'evolution' from the quick-eye's reflex to a mindful response. In other words, the eye responds to the movement with quick vigilance while the conscious brain wonders, "What was that?" If you say, "What was that?" as fast as you can, that's something akin to a "mental hiccup."

These bad cuts can be made good by either trimming the Outgoing cut of the motion that has grabbed the eye, or by adding 2-3 frames to the Outgoing (extending the movement), thus allowing a mindful response.

[Michael · Rating 4 out of 5]

This is not the first book to read if you are a beginner. It's the second. There are specifics covered that are written in a really good manner. Easily understood and easy to read.

[Akash Akash]

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