What began as a summer whim has turned into a lot of fun. When I was a kid - and you too - there was "concentration of culture." By that I mean, due to limited media outlets, we were "all on the same page." When Elvis appeared on THE ED SULLIVAN SHOW, everybody saw him, and all could talk about the same thing the next day. Now, with a zillion channels and the Internet, it takes commitment, but it's still there. Here we sit, seated around the world, and with a little effort, anyone joining this thread can venture into a whole new realm with like-minded people. Jack Palance died. "Who was he, Dad?" "One of the deadliest bad guys ever put on film. If you want to see, let's watch SHANE." "Okay, get it for this Friday night."
Several times, I've posted this exchange:
Shane: So you're Jack Wilson.
Jack Wilson: What's that mean to you, Shane?
Shane: I've heard about you.
Jack Wilson: What have you heard, Shane?
Shane: I've heard that you're a low-down Yankee liar.
Jack Wilson: Prove it.
This time, I got into the gunfight in detail, playing it again and again. The way Wilson sets the coffeepot aside. The way he stands up and walks around the table. The way Shane pushes away from the bar. And the way every
cut adds to the whole.
http://www.filmreference.com/Writers-an ... lliam.html
Frank Capra called William Hornbeck "the greatest film editor in the history of motion pictures," and in a 1977 poll 100 of his peers named Hornbeck the best editor in the film industry...
He began at the bottom as a winder of film when hardly more than a child, and worked up the ladder of the business slowly and thoroughly, learning every phase of film cutting...
His editing technique is simple: it serves its story, and the intent of the director, according to what is most appropriate; it is superbly crafted; it is humanistic in tone...
In Shane, during a lengthy fight in a saloon, the story presents the fascinated young boy (Brandon DeWilde) watching his hero, Alan Ladd, defeat the badmen. The action of the fight is cut so that the audience is returned several times to the sight of DeWilde watching the fight. Since the response of the boy to the gunfighter hero is one of the basic thematic concerns of the film, rapidly cutting him into the dynamic action of the saloon fight maintains the integrity of the fight but also grounds it firmly in the point of view of the child. Later in the same film, DeWilde "participates" in the final gunfight by warning the hero at a crucial moment. Hornbeck's cutting on sound (the cry of the boy's warning) again effectively illustrates the point of the boy's desire not only to watch the hero, but to be the hero. A hard punch on a villain's jaw by Alan Ladd is followed by a cut to the boy crunching down hard on a candy stick. The crack of the candy replaces the sound of the jaw punch, and again unites action to thematic purpose. (These masterful examples of Hornbeck's work were chosen by the Academy of Motion Picture Arts and Sciences to illustrate the technique of editing at one of their annual Oscar shows.)
When I first saw SHANE as a boy, I, too, was awestruck by my
Now I know why.