Developing the Editor's Eye

Michael R. Miller has had a dream career in film editing. After graduating from Cornell University, he landed the plum job of assistant to editor Susan E. Morse, ACE. He worked in the same capacity for Thelma Schoonmaker, ACE on Martin Scorsese’s Raging Bull. Subsequently Mr. Miller became a sound editor on Joel and Ethan Coen’s Blood Simple and went on to collaborate with "the boys" as editor of Raising Arizona and Miller’s Crossing. His many other cutting credits include Terry Zwygoff’s Ghost World, Keenen Wayans’ I’m Gonna Git You, Sucka, Herbert Ross’ Boys on the Side, Thomas Carter’s Swing Kids, Paul Dinello’s Strangers With Candy (starring Dinello, Stephen Colbert and Amy Sedaris), Michael Bay’s Armageddon, Rupert Wainwright’s Stigmata, Jesse Terrero’s Soul Plane, and Anthony Hopkins’ Slipstream. He also edited Josh Radnor’s happythankyoumoreplease, winner of the 2010 Sundance Film Festival Audience Award, Mr. Radnor's well-reviewed Liberal Arts, which premiered at Sundance in 2012, and Maya Forbes' Infinitely Polar Bear, which screened there in 2014. In all, he’s edited eight official Sundance Selections. Mr. Miller also edited Angus MacLaughlin’s Abundant Acreage Available, which won Best Original Screenplay at the 2017 Tribeca Film Festival. He is currently Professor of filmmaking at the University of North Carolina School of the Arts, where he served as Editing Department chair for eight years.

• Acknowledgements 1 Introduction: Why Editing Now Requires Formal Training 2 Choosing the Best Moment: What Moves You?3 The Primacy of Performance: Authentic Acting Is the North Star4 Editing as a Foundation of Rhythm and Pace: A New Beacon5 Other Editing Concepts: Transitions, Parallel Construction, the Axis, Motivated Cuts, Intercutting, etc.: Pudovkin, Eisenstein and All the Usual Suspects 6 Character Point of View and How to Create It: Who’s Telling This Story?7 The Importance of Opening Scenes: And Why They’re Assembled Toward the End of Post8 The Many Roles of Music: Score, Source, “Scource” and Much, Much More9 The Role of Sound: Developing the Editor’s Ear10 Editing as the Final Rewrite: The First Assembly is the First Draft 11 Breaking the Rules: That’s What They’re Made For… Until They Become the New Ones12 Conclusion Appendix: Suggested Film Clips to Supplement the TextIndex

“Wonderful! Filled with practical wisdom and erudition but with feet still planted firmly on the ground. The real deal.”- Julio Perez IV, ACE (Editor, Euphoria)"Along with his calm and nuanced approach, Michael brings a deep understanding of the history of film. So, if you're interested in editing, film making or simply passionate about cinema, this is the book for you."- Paul Dinello, Director, Strangers With Candy. Supervising Producer, The Late Show with Stephen Colbert“Since 1987 there hasn't been a single project I’ve edited that wasn’t informed by Michael Miller’s groundbreaking editing. From the pitch perfect comedy timing of ‘Raising Arizona’ to the sardonic pacing of ‘Ghost World’ to the intense drama of ‘Miller’s Crossing’ (no relation) Michael’s timing is what I aspire to."- John Venzon, ACE (South Park - Bigger, Longer & Uncut, Storks, The Lego Batman Movie & The Bad Guys)”