Editing

Walter Murch's theory is the "The Rule of Six", a list of criteria that shows which feature should be at the top of the editors list. Learning this  I watched two opening film sequences to see how the theory applies to them.

The first sequence I watched was Shaun of the Dead, which conformed to the theory. Emotion and story was the most emphasized features in the sequence, shown between the 3 main characters we learn their feelings towards each other which opens up the story. The three-dimensional space of action in the sequence was clearly shown when Shaun was getting ready for work. Quick shots were shown of him brushing his teeth and flushing the toilets. These shots were very quick too signify that Shaun is in a rush for work, but mainly because they are a regular routine and not significant. This supports Murch's theory, because how the actors and objects relate to each other are at the bottom of the list, when emotion and story is at the top.

The second sequence I watched was Inglorious Basterds, which also conformed to the theory. Part of the only three-dimensional space of action was the smoking of the pipe. The farmer was very nervous that the nazi was in his house, and so was smoking the pipe to calm himself down and to hide this, which is signified by his 'straight not quite at ease' facial expression. Compared to the nazis very laid back expression signifying that he is smoking the pipe for pleasure because he is in control of the situation. Arguably the point of showing the characters relation to the objects could be to show how they feel emotionally, which would show that emotion is a much more important part of editing.The whole sequence is based around the emotions of the two characters, which builds tension throughout. The nazi is questioning the farmer, asking him if he is hiding Jews, which is all part of the story. However the emotions are the key part of the sequence compared to the story. The rhythm is important to show tension, until the tension stops with the action where the rhythm speeds up. There is a long rest on screen of the camera shot showing the farmer and the nazi, which builds up the tension because the audience feel like at any second the tension could break. The tension finally does break with an eye-trace close-up of the two characters faces, to show how the farmer has given in, and how the nazi knows he has won. This is followed by the whining, jarring music, which signifies the danger to come.