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I've been a big fan of Steve Hullfish's interviews with editors at The Art of The Cut. So I was excited to get the chance to partner up with The Art of The Cut to make this video about Joe Walker's editing in Dune.

In this video I give an overview of the distinction between "Continuity of Action" and other kinds of continuity, and how Joe Walker works within a "montage mode" of editing. Regardless of your interest in Dune, if you're interested in editing there will hopefully be some valuable info here. 

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Why Dune's Editing Feels Different

Listen to in-depth interviews with amazing editors on the Art of The Cut Podcast: https://anchor.fm/frameio-insider The Frame.io Insider: https://blog.frame.io/?dune-editing Watch the Full Interview with Joe Walker: https://www.youtube.com/watch?v=jfgZMmoYvdE Adapting Dune for the screen was a big challenge that pushed Director Denis Villeneuve and Editor Joe Walker, ACE to use a slightly unconventional approach to editing in the film. In this video I breakdown how Walker works within the "montage mode" of editing to tell the film's story efficiently and powerfully. // support my channel on Patreon: https://www.patreon.com/thomasflight // monthly newsletter: https://thomasflight.substack.com/ // TWITTER: https://twitter.com/thomasflight // WEBSITE: http://www.thomasflight.com // FACEBOOK: http://www.facebook.com/thomasflight // MERCH: https://www.thomasflight.com/merch // sponsorship and business inquiries: thomasflight@standard.tv // Questions, feedback, other stuff: contact@thomasflight.com *All Amazon links are affiliate links that support my channel.

Comments

Anonymous

Terrific video, Thomas.

Tim Grantham

Another insightful and illuminating analysis. Until I watched this, I didn't always understand what the hell was happening in the referenced parts of the film, even after rewatching several times. For me, the switches in the flow of action were sometimes effective, but other times confusing and frustrating in the moment. Overall, though, I think this version of Dune will be definitive, not just as an adaption, but as an example of the highest form of the film art.