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Peter Hunt's editing.

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  • tanaka123tanaka123
    Posts: 4,325
    IncompetentHenchman wrote: »
    stag wrote: »
    Baltimore_007 wrote: »
    The first thing I think of when Hunt is mentioned, is as director for OHMSS, it's sometimes easy to overlook his contribution to the previous Bond releases. Yes it is true that some of the editing from 1962-67 he was involved in, was a little bizarre sometimes, a little too rapid or quick on the eye, particularly Thunderball as mentioned, (quite absurd sequence with the Disco Volante towards the end) that was more amusing than suspenseful or anything, but you can't ignore his contribution towards the franchise

    I agree. Hunt will forever be best known to me as the Director of the brilliant OHMSS. The short & heavily edited fight sequence between Bond & Draco's henchmen as they escort him into the latters office is the best of the entire franchise.

    I would couple that that with TB's embarrassing Disco Volante sequence as one of Hunt's lesser efforts honestly... What is the point of having a fight if you cut it so aggressively that it's literally over in ten seconds flat and it goes so quickly that once you've blinked you've missed it?

    Hunt is more hit than miss of course, the OHMSS fight in the hotel and the OHMSS car chase are testament to his editing skill.

    People always knock that fight scene, but I've always liked it.
  • w2bondw2bond is indeed a very rare breed
    Posts: 2,252
    The fight is good. The issue is with the supersonic boat
  • stagstag In the thick of it!
    Posts: 1,053
    I'm not sure if you're aware but the whole point about fighting - fighting when you are taught to fight - is all about having it over & done with in as short a time as possible. In that respect because Bond was facing multiple opponents he needed to act decisively & quickly before they knew what was happening. IMO in this instance Hunt was correct.
  • DragonpolDragonpol https://thebondologistblog.blogspot.com
    edited September 2016 Posts: 18,271
    I go against the grain and think that the Thunderball Disco Volante fight is "bloody good" to quote Terence Young while he was filming it. Yes, it does go supersonic fast outside the vessel but there was a reason for that explained in Steven Jay Rubin's The James Bond Films (1981/83).
  • stagstag In the thick of it!
    Posts: 1,053
    The chap with whom Bond had the hotel room fight was also one of those escorting him into Draco's office. That particular henchman had proved himself a worthy opponent therefore it only stands to reason that Bond would attempt to overpower him & his friends before they had chance to react. Also I agree with w2bond & Dragonpol regarding the fight aboard the Disco Volante.
  • BAIN123BAIN123
    edited September 2016 Posts: 11,189
    I did noticed the last time I watched FWRL that Hunt re-used the same shot of the helicopter swooping low during the chase sequence.

    Some of Hunt's editing style is dated now but for the most part the action is still exciting.

    To me, the train fight is probably his finest work as editor. It's stood the test of time exceptionally well.

    I've also always like the final TB fight on the Disco Volante. Though I wonder whether it would have the same impact without the dramatic music accompanying it.
  • IncompetentHenchmanIncompetentHenchman
    edited September 2016 Posts: 1,817
    stag wrote: »
    I'm not sure if you're aware but the whole point about fighting - fighting when you are taught to fight - is all about having it over & done with in as short a time as possible. In that respect because Bond was facing multiple opponents he needed to act decisively & quickly before they knew what was happening. IMO in this instance Hunt was correct.

    I respectfully disagree. Yes that's point of fighting in real life but that doesn't make for good viewing. If this logic is used for all fights then where does this leave all the other fights like Bond vs Grant or Bond vs Trevelyan? Are they seriously too long?

    EDIT: I would compare it to something like the elevator fight in QOS which I also vehemently dislike.
  • stagstag In the thick of it!
    Posts: 1,053
    I take your point however I must point out that the other examples are one on one. That doesn't make them too long. When Bond is faced with multiple opponents there has to be some semblance of reality otherwise we would just witness that old cliche where said opponents stand idly by to watch each other fight it out one by one.
  • DragonpolDragonpol https://thebondologistblog.blogspot.com
    Posts: 18,271
    stag wrote: »
    I take your point however I must point out that the other examples are one on one. That doesn'et make them too long. When Bond is faced with multiple opponents there has to be some semblance of reality otherwise we would just witness that old cliche where said opponents stand idly by to watch each other fight it out one by one.

    Exactly. Bond is in a difficult situation on the Disco Volante and so he has to act with lightning speed.
  • ThunderfingerThunderfinger Das Boot Hill
    Posts: 45,489
    JBFan626 wrote: »
    Watching the behind-the-scenes doc on FRWL special features, Peter Hunt explains many of the techniques he used. It's all quite brilliant, especially how we basically takes a mirror shot to expand the size of scene.

    As far as the sped up shots, I love the end fist fight in Thunerball on the boat. It really adds to the excitement of that scene, even if it looks a bit fake. But it was 60's and most of the special effects look a bit fake in a campy kind of way.

    I watched that too. Impressive how he worked out that particular scene with Klebb and Blofeld where some of the footage is played backwards. You never notice unless you know.

    Let s not forget either that Peter Hunt invented the pre title sequence.
  • stagstag In the thick of it!
    Posts: 1,053
    Thunderfinger wrote: »
    .

    Let s not forget either that Peter Hunt invented the pre title sequence.

    I didn't know that. My respect goes up several notches.

  • IGUANNAIGUANNA
    Posts: 1,296
    I think us gay folk understand Bond better in general. Peter Hunt, me, John Logan, etc. :)
  • MilovyMilovy
    edited September 2016 Posts: 676
    There is a lot more to Peter Hunt than the innovative - sometimes bordering on strange - way he cut together action. He worked wonders in the way he paced the early films, as well as the hard work he did to wrangle the raw material of the films into something coherent and enjoyable (see FRWL example mentioned by @Thunderfinger).

    I mean, the Disco Volante fight looks a bit silly, but so what? This is a man who revolutionized how films were cut - "cut to the chase." He should be recognized for his contributions to Bond just as much as folks like Terence Young, John Barry and Ken Adam have been.

    I guess it shouldn't surprise me that the Disco Volante is all people talk about... As editors will tell you, the best editing is invisible to the viewer. When the editing works, the viewer won't even notice it. But people do notice Hunt's action editing - because it's not invisible at all! Hunt knew the "rules" and he broke them on purpose. It's a very deliberate style meant to have an effect on the viewer's experience of the action. If it doesn't work for you, fine, but it's not just a big ol' goof on the filmmakers' part.
  • DragonpolDragonpol https://thebondologistblog.blogspot.com
    Posts: 18,271
    IGUANNA wrote: »
    I think us gay folk understand Bond better in general. Peter Hunt, me, John Logan, etc. :)

    What with James Bond being gay and all.

  • IGUANNAIGUANNA
    Posts: 1,296
    Dragonpol wrote: »
    IGUANNA wrote: »
    I think us gay folk understand Bond better in general. Peter Hunt, me, John Logan, etc. :)

    What with James Bond being gay and all.
    He isn't a Brony either but don't let that stop you. :)
  • DragonpolDragonpol https://thebondologistblog.blogspot.com
    Posts: 18,271
    IGUANNA wrote: »
    Dragonpol wrote: »
    IGUANNA wrote: »
    I think us gay folk understand Bond better in general. Peter Hunt, me, John Logan, etc. :)

    What with James Bond being gay and all.
    He isn't a Brony either but don't let that stop you. :)

    Well fair enough.
  • Matt007Matt007
    Posts: 1,314
    I do have a few issues.

    The disco volante climax is ridiculous

    Some of the editing in ohmss is poor. But some great. The Shot of the Guy knocked down on the beach, cut away, then cut back and he's approaching with an anchor is great. It compresses the action but you don't see the cut.

    Things like sped up action on the Bob sleigh just create an inconsistent story telling style when coupled with real time long shots.

    It works best close in and with quick cuts in between IMO
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