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Trent Reznor and Atticus Ross on Working With Omar Apollo and Caetano Veloso for Luca Guadagnino’s ‘Queer’
Trent Reznor and Atticus Ross on Working With Omar Apollo and Caetano Veloso for Luca Guadagnino’s ‘Queer’
There wasn't that kind of clarity from a musical position on Queer. He threw out lots of different things that were kind of riddles to solve, but, eventually, what we decided on was leaning into Burroughs and the idea of the cut-up technique and using samplers. It felt like an organic way to tell the story musically.
Reznor: I just found some notes from a call with Luca. So I'll read [them to] you. Here was our directions: "Love could feel like dread—Stockhausen. Lee towards lover—engulfing, overwhelming, an uncompromising approach. He's a broken, lonely man—unknown reciprocation, unsure throughout, but still beautiful. I like the scale of an orchestra—bipolar. Make the score bipolar. Burroughs was like this, from Old America, but contemporary—the score should be like that. Maybe electronic element—Ayahuasca." Okay—go write a score.
the original cut was significantly longer, at least an hour longer than what's in theaters now. And a lot of what was taken out was a more surreal element that was exciting and alters the way the film feels quite a bit. When a lot of that got removed, it was hard for us to understand what the film became, because it shifted the tone of it quite a bit in certain ways.
It became disorienting at times to also quantify the impact the whole film has. You know what I mean? We're watching three-minute chunks, a week of this three-minute and then a week of that seven-minute segment, assuming it sits atop the scaffolding that got us there and leads to what's happening.
sometimes, when you start taking those pieces out, it becomes harder to understand. What you're working on is now affected because it doesn't have that stuff you know is there because you watched it, but it's not there. That's the part of filmmaking that I find tricky. We've experienced it with [David] Fincher as well on some things. To be able, as a director, to remain objective with that many moving parts, that's what feels... When people have said, “Do you ever think about directing?”—it's like, I've thought about how I know I couldn't do it. I thought about, “Well, I'd like to do it,” but it's like, the ability to be able to remain objective about so many things, that feels daunting to me. And as composers we feel like we're able to microscope in to get really close up on things.
#music#film#filmmaking#editing#directing#composing#film-scores#bts#interviews#people/Guadagnino#love#themes#writing/characterization
·gq.com·
Trent Reznor and Atticus Ross on Working With Omar Apollo and Caetano Veloso for Luca Guadagnino’s ‘Queer’
Editors who left the field or take less work: what came next? : r/editors
Editors who left the field or take less work: what came next? : r/editors

AI summary: An experienced video editor is experiencing burnout and seeking advice from others who have transitioned out of or reduced their work in the editing field, exploring alternative career paths or ways to balance editing with other pursuits.

  1. Industry challenges:

    • The post suggests that career progression and financial growth in editing may be stagnating
    • There's an indication that the editing field might not be as rewarding or sustainable as it once was

  2. Digital fatigue:

    • The mention of "computer burnout" points to a growing issue of digital exhaustion in tech-heavy professions
    • This reflects a broader trend of professionals seeking balance in the digital age

  3. Shift in career values:

    • There's a noticeable desire for tangible, physical work, suggesting a potential pushback against purely digital careers
    • This could indicate a broader trend of reevaluating career satisfaction beyond traditional metrics of success

  4. Gig economy pressures:

    • The consideration of part-time work combined with freelancing hints at the challenges of stability in the gig economy
    • It suggests that full-time roles in editing might be less available or less appealing

  5. Community support importance:

    • Reaching out to peers for advice highlights the value of professional communities in navigating career challenges
    • This reflects a broader trend of using online platforms for career guidance and support

  6. Work-life balance concerns:

    • The post indicates a growing prioritization of lifestyle and well-being over traditional career paths
    • This aligns with wider discussions about work-life balance, especially post-pandemic

  7. Adaptability and multi-skilling:

    • Considering diverse career options suggests a need for adaptability in the current job market
    • It points to a trend of professionals looking to diversify their skills and income streams
#discourse#trends#editing#careers#tiktok#social media#burnout
·reddit.com·
Editors who left the field or take less work: what came next? : r/editors
Why Creators Have Stopped Editing Their Content
Why Creators Have Stopped Editing Their Content

AI Summary: A new trend is emerging among content creators on platforms like YouTube and TikTok, where they are moving away from heavily edited videos to more raw, unedited content. This shift is driven by audience fatigue with overstimulating, retention-edited videos and a desire for more authentic, relatable content. Creators like Dan Hentschel and Sam Sulek have gained large followings by posting unedited videos, finding that this approach saves time, money, and resonates better with viewers. The trend is seen as a reaction to the oversaturation of highly produced content, with even top creators like MrBeast acknowledging the benefits of a more stripped-down approach. Industry experts and creators alike report that unedited content often outperforms edited videos in terms of views and engagement, as it creates a sense of intimacy and authenticity that audiences crave in the current social media landscape.

See also [[companionship content]]

WHEN DAN HENTSCHEL, a 28-year-old comedic YouTuber, goes to make a video, he props his phone up on the dashboard of his car, talks for up to 40 minutes uninterrupted, and posts it.
social media users are getting fatigued by the overstimulating, brain-rot style of videos, where graphics and sounds appear every 1.5 seconds. No-edit creators, he says, are building deeper relationships with their followers.
“The no-edit format feels more intimate. It’s as if you’re hanging out with your friend at the gym, going for a car ride, or just hanging out at home. These no-edit creators, in particular, replicate face-to-face communication, which creates a sense of intimacy. They speak directly into the camera as if they’re looking at you directly.”
Adam Meskouri, who negotiates content and licensing partnerships with creators and runs the Instagram page @baai, which posts viral content, says that he’s seen no-edit content take off in the past couple of months. “The videos that perform the best are videos that don’t have text overlays, or cuts, or special effects,” he says. “They’re usually just continuous clips.”
#video editing#trends#YouTube#culture#editing
·rollingstone.com·
Why Creators Have Stopped Editing Their Content
Art of the Cut: Dune 2
Art of the Cut: Dune 2
the early television speaker technology was closer in design to a telephone: built to maximize vocal range over other things. But in Cinema we’re a lot more free. This was mixed in Dolby Atmos, native. So sound was always a very key strategy.
I think TV is so dialogue-driven because in the early days, you couldn’t really have very cinematic images. You’re just looking at a small screen. What are you gonna do? You gotta tell me the story with talking.
our aim in Dune, which is a vast ensemble piece with a complex story and complex backgrounds and Frank Herbert’s almost fractal approach to storytelling, we had to have utter clarity and delivery of ideas.
There’s been some recent discussion about burdensome amounts of dialogue in film because of the influence of Television. From my background in Britain, it’s probably something I recognize more as the heritage of Radio and Theater rather than Television.
What’s the pace, the overall pace of a film? When I say pace, I don’t just mean how fast the cuts are. I mean what is moving you, underneath? What is the big drive in the story and how do we cross-cut those? If you cut off the flow too soon, it’s just an age old editing conundrum.  In TV often – Mad Men for example is constantly doing the Chinese plate trick of going between different story strands, keeping each plate spinning, and that works in TV because of the medium.
in a feature film where you want a strong feeling of drive, it’s sometimes a better idea to kind of combine stories or to let them flow. I’m basically playing with Paul’s story, the Harkonnen story, and on Jessica laying “the Way." Irulan’s diaries always gave us an opportunity to clarify their progress. And to that end, Denis shot a beautiful amount of material of the diary room.
There wer so many more angles than we needed because he knew that we might need to improvise one [a diary scene] and we did.
#interviews#editing#video editing#filmmaking#dune#bts#career
·borisfx.com·
Art of the Cut: Dune 2
Putting Ideas into Words
Putting Ideas into Words
It's not just having to commit your ideas to specific words that makes writing so exacting. The real test is reading what you've written. You have to pretend to be a neutral reader who knows nothing of what's in your head, only what you wrote.
You can know a great deal about something without writing about it. Can you ever know so much that you wouldn't learn more from trying to explain what you know? I don't think so.
#knowledge#writing#editing
·paulgraham.com·
Putting Ideas into Words