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Talking Pictures
certain suggestions. Perhaps he feels that a different "take" of a certain close-up would give a better effect. Or he will indicate the value of a possible rearrangement of a whole sequence, and some scenes or portions of scenes may be omitted entirely.
The original "balancing" of various elements, closeups, long-shots, has been done by the film editor. This is his particular artistry, one for which he has trained himself by working from four to seven years as an assistant or apprentice cutter. A good film editor develops so strong an instinct for dramatic values that his judgment is usually accepted by producers and directors.
In the rough cut, however, he has deliberately left scenes long so that the judgment of others may join with his in a discussion of what should be cut and what scenes could be improved or shortened by retaking or rephotographing.
The picture is projected over and over by the producer, the director, and the editor. Changes and shifts are made until this small group of men, sitting for hours in a dark projection room, decide that they have made alterations as far as they can without an "audience reaction."
Film makers are the first to see the danger in editing a picture only in an isolated room within the studio in which the production was made. They realize the false values which can creep in when men go over the same ground for weeks. Such repetition is bound to dull the effect of each scene on the emotions of the beholders. Therefore, final decisions as to changes are always made by the public, the ultimate consumer.
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