{"id":149872,"date":"2021-02-22T15:53:07","date_gmt":"2021-02-22T21:53:07","guid":{"rendered":"https:\/\/www.premiumbeat.com\/blog\/?p=149872"},"modified":"2021-02-22T15:53:08","modified_gmt":"2021-02-22T21:53:08","slug":"visible-editing-thelma-schoonmaker","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/visible-editing-thelma-schoonmaker\/","title":{"rendered":"The Visible Art of Editing with Thelma Schoonmaker"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\" id=\"h-learn-more-from-martin-scorsese-s-longtime-editor-thelma-schoonmaker-and-why-sometimes-you-want-your-audience-to-notice-your-cuts\"><span id=\"learn-more-from-martin-scorseses-longtime-editor-thelma-schoonmaker-and-why-sometimes-you-want-your-audience-to-notice-your-cuts\">Learn more from Martin Scorsese\u2019s longtime editor Thelma Schoonmaker, and why sometimes you want your audience to notice your cuts.<\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Like many I\u2019m sure, I find myself going on a Scorsese-binge from time to time. It\u2019s pretty easy to do, most of <a href=\"https:\/\/www.imdb.com\/name\/nm0000217\/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"external\">Martin Scorsese<\/a>\u2019s most recent films are on Netflix (with notable examples like <em><a href=\"https:\/\/www.imdb.com\/title\/tt1302006\/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"external\">The Irishman<\/a><\/em> which was one of the platform\u2019s biggest cinematic investments). However, this last time I really tried to go a bit deeper and dug up some older, less famous films than <em><a href=\"https:\/\/www.imdb.com\/title\/tt0081398\/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"external\">Raging Bull<\/a><\/em> or <em><a href=\"https:\/\/www.imdb.com\/title\/tt0099685\/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"external\">Goodfellas<\/a><\/em>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Films like <em><a href=\"https:\/\/www.imdb.com\/title\/tt0090863\/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"external\">The Color of Money<\/a><\/em>, <em><a href=\"https:\/\/www.imdb.com\/title\/tt0088680\/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"external\">After Hours<\/a><\/em>, and even <em><a href=\"https:\/\/www.imdb.com\/title\/tt0063803\/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"external\">Who\u2019s That Knocking at My Door<\/a><\/em> are all phenomenal features that are hugely valuable screenings to anyone remotely interested in the art of filmmaking. But, what really struck me in these most recent viewings though was the editing\u2014or, more specifically, at times just how noticeable it was.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I\u2019m sure anyone who\u2019s ever been to film school or read a book about editing will tell you, the old axiom about \u201cgood editing means people don\u2019t notice it\u2019s happening\u201d has been pounded into our brains. However, if we look at the works of one of the greatest and most accomplished film editors of all time\u2014the great <a href=\"https:\/\/www.imdb.com\/name\/nm0774817\/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"external\">Thelma Schoonmaker<\/a>, the longtime creative editing partner of <a href=\"https:\/\/www.premiumbeat.com\/blog\/martin-scorsese-filmmaking-masterclass\/\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"internal\">Scorsese<\/a> himself\u2014that\u2019s not always the case.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">So, let\u2019s dive into the career, works, and styles of Schoonmaker to see how this can be true. Plus, learn a bit more about how this influential and famous filmmaker developed her craft over the years.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-making-choices-and-collaboration\"><span id=\"making-choices-and-collaboration\">Making Choices and Collaboration<\/span><\/h3>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/rHdg2pN4BrA?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span>\n<\/div><\/figure>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>I think the most wonderful thing about editing is that you\u2019re giving all this raw material and it\u2019s your job to make choices\u2014in this case along with Scorsese\u2014in how to focus the scene. When do you cut to a close-up of one actor rather than the other? When do you use wide shots?<\/p><cite>-Thelma Schoonmaker<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\">While attending graduate studies at Columbia University in New York City, Schoonmaker actually got her start as a film editor in one of the most unlikely of ways\u2014by responding to a newspaper ad. It was there she learned the art of cutting negatives, a skill which she would quickly apply to another chance opportunity to work with Scorsese on re-editing his student film short <em><a href=\"https:\/\/www.imdb.com\/title\/tt0057680\/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"external\">What&#8217;s a Nice Girl Like You Doing in a Place Like This?<\/a><\/em>. The duo would become fast friends and collaborators as Scorsese would ask Schoonmaker to edit his first feature and spawn a partnership, which has now lasted over five decades.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Schoonmaker has been quite open as well about how close her creative partnership with Scorsese has been. Schoonmaker credits her ability to collaborate as a major factor in tackling the hundreds of choices that an editor must make on a project.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cAll those decisions you use on how to shape those sequences is the most incredible creative act anybody can have,\u201d Schoonmaker continues in the interview above. I\u2019d also recommend watching the rest of the clip as she further explains this point with a wonderful example about one of the memorable sequences from <em>Goodfellas<\/em>.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-editing-is-not-always-invisible\"><span id=\"editing-is-not-always-invisible\">Editing Is Not Always Invisible<\/span><\/h3>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/jIBLEgDhsNI?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">This is probably my favorite quote from the legendary film editor, but also one that\u2019s very indicative of her views on editing and her own cutting style. The notion that editing should be invisible is only true if you\u2019re strictly trying to engross your audience in a story. However, as Schoonmaker points out in the interview above, sometimes the goal should be to \u201cslap them in the face.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In reality, there are no hard rules or universal truths to film editing. A film or video project simply needs to tell a story in the best way possible. For Schoonmaker, this means she makes her cuts with the audience, and their expectations, in mind. Sometimes you want to cut every three seconds, while others you want to hold for a bit too long if you want to make your audience feel a bit of apprehension and worry.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-read-a-script-once\"><span id=\"read-a-script-once\">Read a Script Once<\/span><\/h3>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/8wl8U3F_4WA?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">When specifically looking at more of Scorsese and Schoonmaker\u2019s more recent films like <em>The Irishman<\/em> and <em><a href=\"https:\/\/www.imdb.com\/title\/tt0993846\/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"external\">The Wolf of Wall Street<\/a><\/em>, it\u2019s always exciting to hear that the duo will be tackling a new and compelling project. However, as Schoonmaker shares in the interview above, a film doesn\u2019t come together just because of an initial description and script. Instead, it changes over time, most notably in the edit.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Schoonmaker is a perfect example of why an editor should be an intrinsic part of the filmmaking process. While she only reads the script once, she&#8217;s active in the viewing and discussion of the dailies with Scorsese, taking copious notes from the shoot days, as well as giving her own insights into how the narrative will string together in the edit. For anyone who&#8217;s wearing <a href=\"https:\/\/www.premiumbeat.com\/blog\/establish-maintain-set-hierarchy\/\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"internal\">multiple hats<\/a> as writer, director, and editor at the same time, it\u2019s important to imagine these roles separately and focus on the individual aspects.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-working-with-improvised-scenes\"><span id=\"working-with-improvised-scenes\">Working with Improvised Scenes<\/span><\/h3>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/mCfOE_s6Z3k?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Similarly, another hallmark of Scorsese\u2019s directing style and Schoonmaker\u2019s editing prowess is the duo\u2019s ability to work with improvised performances and scenes. Speaking on the shooting and editing process behind <em>The Wolf of Wall Street<\/em>, Schoonmaker shares some insights into how Scorsese would open up the set for improvised lines and deliveries.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As an <a href=\"https:\/\/www.premiumbeat.com\/blog\/davinci-resolve-speed-editor\/\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"internal\">editor<\/a>, it\u2019s your job to find the right balance in your assembly to work with these improvised elements, while combining them with the narrative backbone which you\u2019re in charge of keeping on track throughout. Obviously, this worked out quite well for the film overall, but as you can hear from Schoonmaker\u2019s experience cutting together so many classic Scorsese films, the sentiment remains true throughout to accept new elements, yet be the rock behind the overall story.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-keep-in-the-bumps\"><span id=\"keep-in-the-bumps\">Keep in the \u201cBumps\u201d<\/span><\/h3>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/K6hCKyJruJo?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span>\n<\/div><\/figure>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>We like a certain roughness sometimes in the film editing style that Hollywood editors wouldn\u2019t like. Hollywood editors tend to like a slick style of editing, where all the bumps are removed. But, sometimes Marty and I like to keep in those bumps, because they add a certain grittiness to the film, a certain reality.<\/p><cite>&#8211; Thelma Schoonmaker<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\">I find it fascinating that after multiple decades and dozens of award-winning films (including eight Oscar nominations and three wins) that Schoonmaker, and to an extent Scorsese, still see themselves as outsiders of the mainstream Hollywood industry. Maybe it\u2019s a little bit coming from living in New York instead of LA, but I think more so it\u2019s how they approach filmmaking, in general.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In this rare interview clip above from early in Schoonmaker\u2019s career, you can see why she was so eager to challenge the traditional Hollywood film and editing styles and conventions. Her cuts aren\u2019t aimed to simply \u201cglide through the film,\u201d she wants to \u201cshock an audience with a cut that they\u2019re not expecting\u201d from time to time.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As an editor, when you\u2019re rewatching your favorite Scorsese classics from <em><a href=\"https:\/\/www.imdb.com\/title\/tt0407887\/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"external\">The Departed<\/a><\/em> to <em><a href=\"https:\/\/www.imdb.com\/title\/tt1130884\/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"external\">Shutter Island<\/a><\/em>, keep your eyes sharp and your mind open to how these films both look and feel. The cuts are all there not to appease you, but to challenge you when you need to be shocked, surprised, or concerned. These cuts are one of the main reasons why these films have aged so well and Schoonmaker\u2019s career has been so inspiring over the years.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Cover image via <a href=\"https:\/\/www.imdb.com\/name\/nm0774817\/?ref_=nm_mv_close\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"external\">IMDb<\/a>.<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For more editing advice and filmmaker profiles, check out some of these articles below.<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li><a href=\"https:\/\/www.premiumbeat.com\/blog\/pay-homage-without-stealing\/\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"internal\">How to Pay Homage to a Creator without Stealing<\/a><\/li><li><a href=\"https:\/\/www.premiumbeat.com\/blog\/legends-behind-chinese-martial-arts-films\/\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"internal\">Honoring the Legends Behind Chinese Martial Arts Films<\/a><\/li><li><a href=\"https:\/\/www.premiumbeat.com\/blog\/iconic-cinematography-darius-khondji\/\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"internal\">Iconic Cinematography: Our 5 Favorite Shots from Darius Khondji<\/a><\/li><li><a href=\"https:\/\/www.premiumbeat.com\/blog\/cameras-used-at-sundance-2021\/\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"internal\">A Look into the Cameras Used at Sundance Film Festival 2021<\/a><\/li><li><a href=\"https:\/\/www.premiumbeat.com\/blog\/quentin-tarantino-trunk-shot\/\" target=\"_blank\" rel=\"noreferrer noopener\" data-wpel-link=\"internal\">Breaking Down Quentin Tarantino\u2019s Iconic Trunk Shot<\/a><\/li><\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Learn more from Martin Scorsese\u2019s longtime editor Thelma Schoonmaker, and why sometimes you want your audience to notice your cuts.<\/p>\n","protected":false},"author":76,"featured_media":150234,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[4519,3843,39,583],"tags":[1620,1909,2133,564],"class_list":["post-class-post-149872","post-class-post","post-class-type-post","post-class-status-publish","post-class-format-standard","post-class-has-post-thumbnail","post-class-hentry","post-class-category-cinematography-2","post-class-category-filmmaking-2","post-class-category-video-editing","post-class-category-video-production-2","post-class-tag-film-editing","post-class-tag-film-editors","post-class-tag-martin-scorsese","post-class-tag-thelma-schoonmaker"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v18.5 (Yoast SEO v27.7) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>The Visible Art of Editing with Thelma Schoonmaker<\/title>\n<meta name=\"description\" content=\"Learn more from Martin Scorsese\u2019s longtime editor Thelma Schoonmaker, and why sometimes you want your audience to notice your cuts.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.premiumbeat.com\/blog\/visible-editing-thelma-schoonmaker\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Visible Art of Editing with Thelma Schoonmaker\" \/>\n<meta property=\"og:description\" content=\"Learn more from Martin Scorsese\u2019s longtime editor Thelma Schoonmaker, and why sometimes you want your audience to notice your 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