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The EDITING of the James Bond films

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  • BondAficionadoBondAficionado Former IMDBer
    Posts: 1,889
    I think Brosnan's "huh?!" response (after Renard repeats Elektra's motto) could of worked better if they cut the shot earlier. Personally I don't think it's overacting, but if it is, it's only apparent because of the extended take. The Zelda unlocking music doesn't help either.

    Also, when Elektra shoots Zukovsky through the hat there is an obvious cut right before the shot. Should've CGI'd the bullet hole instead.
  • ThunderfingerThunderfinger Das Boot Hill
    Posts: 45,489
    The cameramen in the dressing room mirror, TMWTGG. How could the editor not notice?
  • vzokvzok
    edited September 2017 Posts: 4,044
    Thunderfinger wrote: »
    The cameramen in the dressing room mirror, TMWTGG. How could the editor not notice?

    They'd have lost a chunk of the action if they cut that out. I think they though that people wouldn't notice it on a cinema viewing.
  • ForYourEyesOnlyForYourEyesOnly In the untained cradle of the heavens
    Posts: 1,984
    They probably just decided they had to include it.
    Creasy47 wrote: »
    That discontinuity is seen with so much, it's impossible to make it all line up. As others noted, you have differing levels of liquid in someone's drink, the length of a lit cigarette, where someone's hands are positioned, etc. I've seen shots of someone going to light a cigarette or take a bite of food, and in the very next cut they aren't in the middle of that action at all. Then you have Bond changing viewing eyes as he watches Xenia board the yacht in GE, something Campbell even notes in the director's commentary.

    Indeed. Even in the legendary introduction scene in DN you have these sorts of errors. Extremely minor details.
  • NicNacNicNac Administrator, Moderator
    Posts: 7,582
    Strog wrote: »
    NSGW wrote: »
    Revelator wrote: »
    vzok wrote: »
    It's called jump cuts. Innovative editing at the time.

    Exactly, and still innovative today. The approach is elliptical: shots are missing, because the viewer can be trusted to fill in the inessential parts. The result is a terrific pace--punches connect almost instantly. The pacing is breathless, but the spatial dimensions are still respected and action remains clear.
    It's not Glen who was really responsible for this approach but Hunt, who supervised the editing. Glen's editing in other Bond films, and the editing in the Bonds he directed, is much more conventional.

    Well said. I love the editing in the PTS, it makes you feel each punch and really puts you in the moment.
    Someone once wrote (in some book I read, can't remember which) that Hunt's editing was a filmic equivalent of the comic strip POW! WHAM! BANG! which was a comparison I rather liked.

    I always think it looks like we are dropping in at odd intervals on the fight, rather than seeing it all. We see some of the fight, then we pick it up a minute or so later.
  • BondAficionadoBondAficionado Former IMDBer
    Posts: 1,889
    There's a great dissolve* which acts as a quasi match cut, between Octopussy's chandelier and the water where Vijay is fishing.

    Wonder if it was always intended as such, or if the editor saw the similarities in post and made the choice himself.

    *Always thought that these were called fade transitions. Whoops.
  • BondAficionadoBondAficionado Former IMDBer
    Posts: 1,889
    https://fstoppers.com/education/even-james-bond-can-mess-action-scene-lesson-film-geography-205726

    I encourage the members here who like the QoS opening action scene to watch this video essay. He rightly points out that the geography, of the characters and vehicles, is the biggest problem with the scene. The editing causes this problem of course, because we're not given the proper amount of wide shots (or time) in order for us to process what's going on.

    Mendes/Baird did a great job at preventing this problem in Skyfall's PTS by providing a "third eye" through MP driving the Jeep alongside the train; it essentially gives an editor an excuse to use a wide shot every now and again, without losing the excitement of the action.
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