And, in the stranger than fiction department:
You wind up working for one of the most famous directors in motion picture history based on a five-minute conversation where he asks you, "Are you a good editor?" And, so far, you win three Academy Awards® for editing.
You write a letter to the producer telling him that you just got married and you can't do the film. But you never send that letter. And then you win an Academy Award for Lawrence of Arabia.
You find yourself editing West Side Story for the director who edited Citizen Kane.
And the life of an editor? You don't think about a nomination and you get nominated. You know there's absolutely no chance you'll win, and you do. You thank your family. You forget to thank them. You go right back to work the next day. You wait for a year until the next job comes.
An editor's responsibility is not, as many have thought, "to cut out the bad parts", but to form and shape the material according to the director's vision in support of the story. Editing is based on decisions-hundreds, thousands-and everything you see and hear has a decision behind it.
Read on about these remarkable individuals and their stories in The Making of a Motion Picture Editor.
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