![]() The most difficult sequence to edit was fully conveying the change in Ki-taek’s facial expressions right before he stabs Mr. Since the reveal is not explicitly told through dialogue, editing the takes preceding the stabbing took a keen eye, to look at the expressions the actors were displaying to get the message across. This scene was a culmination of all of the events of the film coming together in an extremely chaotic way. In the climax of the film, the patriarch of the Kim family, Ki-taek, takes a dramatic turn - in a chilling way - and stabs his boss, Mr. The details and rhythm of specific scenes were of great concern to Yang. ![]() I repeated this tons of time to shorten and loosen the frames in order to set a perfect timing for even the blinking moment of Ki-taek and Mr. I put a lot of effort into that scene, as the essence of the scene was to maximize the tension between the two, and to capture Ki-taek’s emotional state with a delicate touch. Park talk to each other wearing Native American costumes. If I really need to point out one, I would like to say it was the “birthday party scene.” There is a scene where Ki-taek and Mr. Rather than the structure of the film, I believe the most important thing for editing Parasite was the details and rhythm of some specific scenes. In the absolutely bonkers final scene of the film, there were a few moments that held extreme significance that needed to be examined and expertly tailored down to the very last frame.Īctually, Parasite had the smoothest process among what I have edited so far. But, one of the hardest parts of the editing process was getting the right rhythm in some scenes. Since Parasite was formed mostly in the storyboards, with little room for improvisation, the full labor of editing was not as intense for Jin-mo as other projects he’s encountered. Tailoring a scene was of great importance in the filming of Parasite. With such process, you can easily find the rhythm of the sequence, and finalize it with the pre-edited version with a basic structure. On set, the production staff and actors struggle really hard to realize a scene, and the on-set editor should refine those scenes visually right after the shooting, and show those to the director in order to move onto the next scene with confidence. Such energy is, indeed, not essential when you edit, but it is a crucial experience that a filmmaker and an editor should acquire. What I have learned from on-set editing is that you could feel more viral energy on the set, which is unimaginable in the editing room. So, those on-set edits were actually the assembly edits. I received the on-set edits in my editing room and gave direct feedback, preparing for final edit. I had my assistant editor on set, who has done on-set editing for Okja in Korea, as well. His assistant would take the shots directly from the camera, then come up with a quick edit on-the-fly, so that the director and actors would have a solid reference to watch, while performing the scenes. One of Jin-mo’s pocket tricks for capturing the energy during filming is by utilizing an on-set editor. It also went for a historic sweep at this year’s Oscars – securing the awards for Best Picture, Best Director, Best International Feature Film, and Best Original Screenplay.īong Joon-ho filming a scene from Parasite. Parasite has dazzled audiences around the world, currently raking in $133 million worldwide, and securing both the Golden Globe Best Picture award and the Academy Award for Best Picture – The first foreign language film to do so. But what else could we expect from master filmmaker Bong Joon-ho? It shifts, moves, bends, and weaves through traditional film-genre structures, leaving the audience with a dazzling yet confusing ending. It’s an absolute roller coaster of genres, shifting from an energetic drama to a satirical take on class structure, then blasting you down a steep hill out of nowhere into terrifying thriller territory. It’s hard to explain the theater experience you get from watching Parasite. Editor Jin-mo Yang shares explains why he still uses Final Cut Pro 7, and he shares his approach to editing Parasite - winner of 2020 Academy Award for Best Picture.
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