ART OF THE CUT WITH THE EDITORS OF "SEVERANCE" - Geoffrey Richman, ACE and Erica Marker, ACE
Art of the Cut
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How to Find Performance That You Love and Shape That
There's a level of discomfort that the actors are giving you obviously but then you're also trying to mold and enhance I think by like you said holding on a shot for example. You start with all the performances that you liked which includes a range but then once you start building the scene, you have to start answering the questions about what is needed at each moment. Just shrinks the pool of different performances that you're pulling from because it's answering a certain need at that moment. Not that the performances are necessarily bad in any moment. It's just that they're not doing what they need to do for the story at that moment in the cut.
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