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Editing the Feature Film, in Paradise Dakota Maverick Moore, MA

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ABSTRACT Editing as Directing: Editing the Feature Film, In Paradise Dakota Maverick Moore, M.A. Advisor: Christopher J. Hansen, M.F.A. The editing process of a narrative film shares many artistic similarities to directing. Through a critical examination of the editing process for the film In Paradise, this thesis will highlight the directorial aspects of editing and how the post-production stage directly shapes the final form of the film. This thesis will also describe the methodological process of editing the film. Storytelling and professional goals are provided, as are films, literature, and insights that are influential to the editing process of the film. 1 Editing as Directing: Editing the Feature Film, In Paradise by Dakota Maverick Moore, B.S. A Thesis Approved by the Department of Communication _____________________________________ David W. Schlueter, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved by the Thesis Committee _________________________________ Christopher J. Hansen, M.F.A., Chairperson _________________________________ James M. Kendrick, Ph.D. ______________________________ DeAnna M. Toten Beard, Ph.D. Accepted by the Graduate School May 2014 _________________________ J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School 2 Copyright © 2014 by Dakota Maverick Moore All rights reserved 3 TABLE OF CONTENTS Chapter One: Introduction ...................................................................................................1 Conveying Theme ...................................................................................................1 Execution ................................................................................................................5 Professional Goals ..................................................................................................7 Chapter Two: Literature Review .........................................................................................9 Non-Fictional Theories and Insights ........................................................................9 Filmic Inspirations .................................................................................................17 Chapter Three: Methodology .............................................................................................25 Differing Directing Styles ......................................................................................25 Finding the Poetic Balance: Style, Tone, and Pace ...............................................29 Script Analysis .......................................................................................................................... 33 Chapter Four: In Paradise .................................................................................................39 Chapter Five: Self-Critique and Film Analysis .................................................................40 Process and Critique ..............................................................................................40 References ..........................................................................................................................65 iv LIST OF FIGURES Figure 1 - Leon’s Shadow in the Warehouse ......................................................................5 Figure 2 - Action and Reaction Shots in the Doctor’s Office ...........................................14 Figure 3 – Dream Motifs ...................................................................................................20 Figure 4 - Caroline Hugs Leon at Airport..........................................................................53 Figure 5 - Leon Runs to Vomit in Field ......................................................................54-55 Figure 6 – Alternate vs. Close-Up Shot of Kitchen Argument .........................................57 Figure 7 - Warehouse Effects Shot Plate ..........................................................................60 Figure 8 - Leon Walking Upon Fantastical Precipice .......................................................63 v ACKNOWLEDGMENTS I would first like to thank God for giving me the guidance to come to Baylor and providing me with the courage and ability to take on this project. It has been an incredible learning experience and the people I have met have made an everlasting impression. I would like to thank my chairperson, Chris Hansen, who guided me through this thesis. During both the editing of the film and the writing of this thesis, Chris was always willing and available to provide feedback and support. His advice helped shape this project and my mind as a director and editor. I would also like to express appreciation to my committee Dr. DeAnna Toten Beard and Dr. James Kendrick, whose insights greatly influenced this project as well as myself as a filmmaker and scholar. Their teachings have greatly influenced my admiration for cinema and my constant quest to learn and discover more from it. To Dr. Michael Korpi and Dr. Corey Carbonara, I would like to express my gratitude for the constant care and support throughout my graduate school experience. They have provided me with a rich understanding of film aesthetics and have always given me ample opportunity to be involved within the practices of filmmaking. I would also like to thank Philip Heinrich and Aaron Youngblood for allowing me to edit their film. Without them, this experience and all that I have learned from it would have not been possible. Editing the feature-film has provided me with new insights as a director and editor that could not have been gained otherwise. Lastly, I would like to thank my wife Marla for having the patience to be married to a filmmaker. During production, which was two months after our wedding, I was practically gone for 23 days. During post-production, I would average about four all-nighters a week to finish on time. That kind of patience and support is humbling and I could not be more thankful. vi CHAPTER ONE Introduction The following is a theoretical and methodological outline of my work editing Philip Heinrich and Aaron Youngblood’s feature film In Paradise. In addition to fulfilling my master’s thesis credit, undertaking the editing portion of the film also serves as a personal endeavor toward further understanding narrative film direction. Through explaining my intentions and methods behind editing the film, this thesis dissects my contributions to the project and defines my personal goal of learning to direct motion pictures in a further, more professional, degree. Conveying Theme In Paradise is essentially a character study. Leon, the main character of the film, is dangerously obsessed with building and utilizing a machine that will fulfill a dream of his. Once the focus of a research group, the machine was thought to provide access to an alternate universal dimension. However, it took the life of his beloved fiancé, a tragic incident that halted research amongst his peers. Yet the accident only reinforced Leon’s state of undivided obsession. In hopes of understanding the secrets of the unknown and escaping his pain, Leon dreams of finishing the machine and uncovering the secrets that cost the life of the one closest to him. Ultimately, In Paradise challenges the destructive nature of the American notion of chasing dreams. Leon’s dreams are unrealistic and destructive. Following his heart will only lead him to danger and further isolation. Leon does not know where the machine 1 will take him when he finishes it or what will even happen when it is utilized, but the mystery of it provides him with a sense of false assurance that it will solve his problems. Throughout the film, Leon is also forced to come to terms with becoming the legal guardian of Caroline, his niece, after the unfortunate death of his brother Andy. On top of all this, Leon has cancer. Yet, in a consistent disregard of reality, Leon neglects his niece and illness and descends into a state of delusion from his compulsive desire to finish the machine. Leon’s journey exists as a cautionary tale. Through the experience of the film’s story and the characters’ journey, the directors and myself share the belief that the message of the film will be potent. Following in the footsteps of Stanley Kubrick, Terrence Malick, and Paul Thomas Anderson (to limit myself to a select few American filmmakers), our goal is for viewers to establish a connection with the characters so they could define the severity of each situation themselves. In effect, this allows audience members to connect with the characters and relate to their circumstances according to their own experiences. The dangers of chasing dreams, reclaiming the past, clinging to false hope, and ignoring reality and those around you are issues that audiences can respond to. Thus, we hope for the viewers to develop a personalized sense of empathy toward the characters, caring for their struggles and well-being. Ultimately, Leon is a character for viewers to examine and learn from whereas Caroline is one that viewers can relate to. Like Caroline, the audience is uncovering the truth behind Leon’s eccentricities and becoming more and more concerned by his negligence as they watch the film. 2 Likewise, the audience must interpret the film’s cautionary intent themselves. Just as Leon, the audience does not know where the machine will take him or what will happen when he uses it. Yet,
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