Archive for Reginald Beck

Waiting for the Big One

Posted in FILM, literature with tags , , , , , , , , on April 19, 2017 by dcairns

I picked up a copy of British Film Editors by Roy Perkins & Martin Stollery. Very good! Specially-conducted interviews with lots of big names — Jim Clark, Antony Gibbs, Tony Lawson, Mick Audsley — but also a great gathering of archive material to assemble a history of the craft of editing in the UK. This doesn’t tell us everything we might want to know, but the smattering provided is probably more thorough than any existing source. Here’s a good bit from future director Charles Crichton on his early days working with Korda ~

“When I became one of the editors on Things to Come [William Cameron Menzies, 1936], I showed him a rough cut of a sequence showing London under attack from the air (this was before the war). The sequence was full of violence, gunfire, bombs, people running for their lives…Alex said, ‘Charlie, you have made a bloody mess of this. It should be that everyone is standing there worried, waiting because they know something is going to happen, and you haven’t put that in the cut at all.’ And I said, ‘But the director didn’t shoot such a scene. So he said, ‘You are a bloody fool, Charlie! You take the bits before he has said ‘Action!’ and you take the bits after he has said ‘Cut!’ and you put them together and you make a marvellous sequence. What’s wrong with you?’ … I was beginning to learn that the script is not the Bible, it is not a blueprint that must be followed, word for word, to the very last detail.”

Check out the film — though there are some atmospheric close-ups which I think must have been taken after Korda got the idea to generate suspense with waiting, there are several wide shots of people standing about in the big London set which look like they have indeed been pinched from the beginning or end of the take. I’ve occasionally used these little bits of non-acting myself, when stuck for footage, so I know it goes on.

Here’s another example of ingenuity and make-do, involving material that was recorded without the intention of it actually being used in the finished film. In the pre-war days, the film’s editor was often responsible for the soundtrack also. Esteemed cutter Reginald Beck faced a problem editing Carol Reed’s THE STARS LOOK DOWN in 1939 ~

“We practically ran out of money, and I hadn’t finished editing. There was a scene of a mining disaster and the sound crew had not shot me any effects. In the film there is seen some rushing water, flooding the mine, with tunnels collapsing, and pit props smashing, everything. And I had to devise sound effects for all that lot. For the pit-props smashing I went through all the takes and used the clapper-board modulation at the start of every take, manipulating several together to create the sound of rending wood.”

We must all look at this film ASAP! I bet it works — you can cut sounds together (literally splicing and gluing them, in those days) to create new sounds, and a movie’s worth of clapperboards would give you a whole range of sharp, wooden SNAP sounds, the volume and pitch depending on distance from the mic and acoustics of the set or location. SNAPsnapSNAPsnapsnapSNAP! I can imagine it. I can also imagine it being a little funny now we know how it was done.

On The Prowl

Posted in FILM with tags , , , , , , on May 18, 2008 by dcairns

The Runaround

Losey had a favourite move,  
  Where his camera would glide,  
Round the back of a seated one,  
  While a standing one would stride,  
Up and down obsessively,
  A tiger in a cage,  
As that camera prowls aggressively,  
  A monster in a rage.

The most exciting version of this actually comes in SECRET CEREMONY, where Liz Taylor does the pacing, covered from two camera positions, with the dolly jolting back and forth at whiplash speed, sometimes in counterpoint to her movement, sometimes in synch with it, the whole thing assembled with great skill and BITE by Reginald Beck’s editing. (I had Beck pegged as a fuddy-duddy since he objected to the flash-forwards in THE GO-BETWEEN, but his work in SECRET C is extremely lively and innovative. Earlier, when Liz slaps Farrow, he cuts across the line with an insert of just three frames between his longer shots, and that little subliminal shot STINGS!)

“We did some camera movements in SECRET CEREMONY that are really impossible to get. There is a scene where Elizabeth is walking up and down talking to [Farrow’s character] Cenci about the past, just before the suicide. I wanted to swing the camera with her, and she was walking quite fast — up and down — as she talked, and [cinematographer] Gerry Fisher had to work with the weight of a crab-dolly which was the only way we could do it. I had to have about six men on that dolly to be able to get it off and bring it back.”

I had a conversation on the phone with Gerry Fisher once, when we were trying to get a feature off the ground. We figured any investors would be happier if they could pair a first-timer like me with someone experienced, and I thought, “Who better?” G.F. was a charming fellow and seemed quite interested, but we never got the money.