Making the cut

>> Edge Codes.com examines the
hidden art and craft of film editing

MASTERS OF MONTAGE: Edge Codes.com

by MATTHEW HAYS

When French critics concocted the auteur theory decades ago, they couldn’t have predicted the extent of its influence. The argument suggests that films often need to be analyzed through the work of the director who, if he or she has a strong vision, will leave a signature behind on all of their work. Legendary critic Pauline Kael attacked the theory in the ’60s, arguing that a veritable army of people were behind any film, not one mastermind.

Never mind the naysayers, popular journalism’s treatment of cinema now invariably boils down to focus on one of two things: the star or the director. With his documentary Edge Codes.com (and don’t ask me to explain the title, because I’ve seen the film and still don’t get it), Alex Shuper attempts to illuminate the fine art of film editing, employing a frenetic editing style and interviews with a number of A-list editors.

Shuper’s editing and filmmaking techniques are entirely self-conscious, bringing the interviewees into the style they’re discussing (Norman Jewison appears in split-screen as he discusses split-screen, for example). There is the basic film-studies lecture, from the Soviets to Griffith to the French new wave, but Shuper manages to avoid being slow or dreary—this is a solid doc that’s both fun and informative.

Edge Codes.com certainly goes a long way to correcting a big wrong: though some cinematographers have managed to make names for themselves (in particular the late Sven Nykvist), the vast majority of editors remain almost entirely invisible. The one possible exception is Scorsese regular Thelma Schoonmaker, who here offers some pleasing reflection on her collaboration on Raging Bull. Watching the interviewees spin stories of working on huge successes like the Matrix trilogy (Zach Staenberg), Run Lola Run (Mathilde Bonnefoy) and Cronenberg’s The Fly (Ronald Sanders), makes you realize just how under-appreciated these artists are. It also touches on ideology, analyzing how 9/11 footage has been used and manipulated via editing.

Edge Codes.com touches on the right balance, between film-studies lecture and entertaining documentary. It’s a great little film about the untold story of a crucial part of the filmmaking process.

Edge Codes.com opens Friday, March 16,
at the Cinéma du Parc. Each night this week,
a different editor will introduce the 7 p.m.
screening of the film and hold a discussion
about editing afterwards. Check
cinemaduparc.com for details