ABSTRACT Editing Closet Memories: Theory and Methodology Grant M. Hall, M.A. Advisor: Christopher J. Hansen, M.F.A. Editing is a unique aspect of the filmmaking process that involves crafting production footage and audio into a cohesive story. The editor must also approach the film with an objective eye in order to craft the best narrative possible. This study examines the creative editing process of Closet Memories, a short film, from preproduction through post-production as well as the relationship between the editor and director and how the vision of each shaped the film from the rough cut to the final cut. Editing Closet Memories: Theory and Methodology by Grant M. Hall, B.A. 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 Kendrick, Ph.D. DeAnna M. Toten Beard, Ph.D. Accepted by the Graduate School May 2013 J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. Copyright © 2013 by Grant M. Hall All rights reserved TABLE OF CONTENTS Chapter 1: Storytelling and Professional Goals ..................................................................1 Chapter 2: Literature Review ...............................................................................................5 Film Literature .........................................................................................................5 Memoirs ...................................................................................................................8 Films ........................................................................................................................8 Unhelpful Sources ..................................................................................................11 Conclusion .............................................................................................................13 Chapter 3: Methodology ....................................................................................................14 Scenes 1 & 2 ..........................................................................................................14 Scene 3 ...................................................................................................................14 Scene 4 ...................................................................................................................15 Scene 5 ...................................................................................................................15 Scene 6 ...................................................................................................................16 Scene 7 ...................................................................................................................16 Scene 8 ...................................................................................................................16 Scene 9 ...................................................................................................................17 Scene 10 .................................................................................................................17 Scenes 11-14 ..........................................................................................................17 Scene 15 .................................................................................................................18 Scene 16 .................................................................................................................18 Scenes 17-19 ..........................................................................................................19 Scene 20 .................................................................................................................19 Scene 21 .................................................................................................................19 Scene 22 .................................................................................................................20 Scenes 23-25 ..........................................................................................................20 Scenes 26-30 ..........................................................................................................20 Scene 31 .................................................................................................................21 Conclusion .............................................................................................................21 Chapter 4: Final Project ....................................................................................................22 Chapter 5: Project Analysis ..............................................................................................23 Opening Monologue ..............................................................................................23 Planning Scene .......................................................................................................24 Transitioning from the Hallucination to Austin’s Room .......................................29 iv Custodian Closet Scene ..........................................................................................31 Climactic Gym Scene ............................................................................................34 Director and Editor Relationship ...........................................................................36 Theoretical Application .........................................................................................38 Conclusion .............................................................................................................41 References .............................................................................................................43 v LIST OF FIGURES Fig. 1. Austin’s close-up ...................................................................................................31 Fig. 2. The rough cut .........................................................................................................33 Fig. 3. The final cut ...........................................................................................................34 Fig. 4. The only shot of Elliott’s reveal ............................................................................35 Fig. 5. Elliott’s close-up ....................................................................................................36 Fig. 6. Elliott out-of-focus ................................................................................................36 vi ACKNOWLEDGMENTS This thesis would not have been possible without the help of many faculty members at Baylor University. I would like to thank my committee chair, Chris Hansen for his guidance, feedback, and funding of this thesis project. His comments and suggestions were invaluable over the course of crafting this thesis and aiding my growth as a filmmaker. To Dr. James Kendrick and Dr. DeAnna Toten Beard, I thank you for participating as thesis committee members. Your input regarding the writing of this thesis has been crucial. I would like to thank my peers, Bob Oei and Ruth Sabin for their close collaboration and companionship as we worked on this project. Finally, I would like to thank my fiancé, Rachel Wrobleske, and my family for their unwavering support as I spent innumerable hours editing Closet Memories and honing the craft I love. vii CHAPTER ONE Storytelling and Professional Goals The ultimate goal of this thesis is to apply various editing theories and genre conventions to the editing of Closet Memories in an attempt to effectively tell a story. It was important to document this short film as it evolved from the rough cut to the final cut during post-production. As an editor, I needed to approach the material objectively and without ego in an attempt to make decisions that best serve the story, which is the ultimate role of the editor. The role of editor, like others in the production of a film, is collaborative, and it was important for this project and my professional development that I documented my experiences with the director as I attempted to enhance the story while honoring her vision. Outlining the role of the editor, Ken Dancyger is quick to point out that “it is an overstatement for any one person involved in filmmaking to claim that his or her role is the exclusive source of creativity in the filmmaking process” (xxi). Before I acquired the footage, my only way of judging the project was through a script reading and my relationship with the director. I was committed to the project and had no knowledge of the performances, coverage, and overall quality of the footage I would be editing. This is the position almost every editor finds himself in when he begins a project. As one can see, this approach presents a clear problem: the editor often has little to no say in the quality of the footage he receives. The same is true in this case study; I was presented with the footage and called upon my research and prior editing experience to sculpt the raw footage and sound into a cohesive whole that has clarity and impact. This brings up 1 a role of the editor that is often overlooked: correcting mistakes made during the filming process. A good editor can make a good film great, but it takes a great editor to make a bad film bearable. Dancyger