FILM EDITOR Anne V Coates
“I don’t care if a director tells me to take 10 frames off—because I don’t take 10 frames off. I take off what I think would be appropriate. Most directors have no idea what 10 frames looks like. If you work with Sidney Lumet, he knows what 10 frames are. Milos Forman does, too. But most directors, when they say “take 10 frames off,” they’re just kind of showing off to you. I’ve learned through the years you just do what you think is right. And they’ll think that’s great because they’ll never count the frames.”
Anne V. Coates
Along with other well-know films, Anne edited Lawrence of Arabia.
David said to me in the end, ‘That’s nearly perfect. Take it away and make it perfect.’ I literally took two frames off of the outgoing scene and that’s the way it is today.
A two-part interview in Flickering Myth:
Cutting Edge: A conversation with film editor Anne V. Coates [part 1]
Twice Around: Anne V. Coates talks about Lawrence of Arabia [part 2]
There is a BBC Radio 4 interview from 2007
FILM EDITING Becoming a Professional Film & Video Editor
Leni Riefenstahl in the cutting room
Becoming a Professional Film & Video Editor -5 Tips to Think About When Getting Started as an Editor
By Lawrence Jordan
in Hollywood Reinvented
FILM EDITING Cutters’ Way by Graham Daseler
“The basic rules of film editing, first established in the silent era, still govern the industry today: maintain your eye lines, preserve continuity, respect planarity (the rules governing the transposition of three dimensions onto a two-dimensional plane), find a good rhythm, and, most important, always advance the story.”
Cutters’ Way – The Mysterious Art of Film Editing
A post by Graham Daseler
Bright Light Film Journal
November 2012 | Issue 78
FILM EDITING classic Holywood style
The first frame, unedited, would be called a “Sequence shot”-This is one long recording of time in a wide shot of the entire scene. This recording would be considered more “realistic” because the footage would not be cut and the audience would have to make the interpretations themselves as to who is them most important person in the frame. The final edit would not be nuanced and intrusive with the relationships between actors.
The second frame shows the editor’s options if they were to a apply a Classical Hollywood Style to the edit . This style involves cutting that reflects the psychological cause and effect relationship of connected shots. By using continuity techniques like the 180 rule, eye line match and axis matches, an editor can choose what face to show next, and in essence be telling the audience who to focus on in the communication of the emotion in the scene.
From : Advanced Editing Notes Art of Video – Capuchino High School
[This page has listings of the various parts of the course. Mainly not hypertext, with most pages coming to a dead end. Sources page pretty comprehensive]
FILM EDITING Analytic and constructive editing
Alfred Hitchcock’s Notorious [1946] – constructive editing in scene where Alicia infers she is being poisoned
Notorious-Part 9/10
Constructive Editing in Robert Bresson’s Pickpocket
A 12 minute video by David Bordwell
Borwell covers this in a post as well:
What happens between shots happens between your ears
Book Film Art: An Introduction
In collaboration with Kristin Thompson. Ninth edition, New York: McGraw-Hill, 2009.
cutting on the action 
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