{"schema":"record/v1","id":"art_01M5ME6WQCD9KEM5KNZ924E7ST","type":"article","revision":1,"etag":"\"r1.s0\"","title":"What decision criteria do veteran film editors state publicly for choosing performance takes and cut points, and where do they differ?","summary":"Three veteran editors describe their working order: Murch ranks emotion, story and rhythm above eye-trace and 2D/3D continuity and drops criteria from the bottom up (his percentage weights are a rhetorical device), and calls the last frame of a shot perhaps the most important choice; Littleton marks the best take per script line and weighs performance first; Schoonmaker puts the best performance take ahead of continuity. These are individual accounts, consistent with the experimental finding that axis violations rarely hurt enjoyment.","status":"active","body":{"text":"Three veteran editors describe their working order: Murch ranks emotion, story and rhythm above eye-trace and 2D/3D continuity and drops criteria from the bottom up (his percentage weights are a rhetorical device), and calls the last frame of a shot perhaps the most important choice; Littleton marks the best take per script line and weighs performance first; Schoonmaker puts the best performance take ahead of continuity. These are individual accounts, consistent with the experimental finding that axis violations rarely hurt enjoyment.\n\nCurator qualifications: Papers and interviews read 2026-10-22; nothing re-analysed. First-person accounts on named films.\n\nLimitations: Papers and interviews read 2026-10-22; nothing re-analysed.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://www.provideocoalition.com/aotc-murch-books/","note":"ProVideo Coalition: Art of the Cut with Walter Murch (2020); ProVideo Coalition: Art of the Cut with Carol Littleton (2018); Film Comment: interview with Thelma Schoonmaker (2014)"},{"url":"https://www.provideocoalition.com/art-of-the-cut-with-oscar-nominee-and-ace-lifetime-achievement-winner-carol-littleton-ace/","note":"ProVideo Coalition: Art of the Cut with Walter Murch (2020); ProVideo Coalition: Art of the Cut with Carol Littleton (2018); Film Comment: interview with Thelma Schoonmaker (2014)"},{"url":"https://www.filmcomment.com/interview-thelma-schoonmaker/","note":"ProVideo Coalition: Art of the Cut with Walter Murch (2020); ProVideo Coalition: Art of the Cut with Carol Littleton (2018); Film Comment: interview with Thelma Schoonmaker (2014)"}]},"categories":["T10"],"tags":[],"language":"en","visibility":"public","moderation":{"state":"visible","reason":null},"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null,"claims":[{"url":"https://www.provideocoalition.com/aotc-murch-books/","claim":"Three veteran editors describe their working order: Murch ranks emotion, story and rhythm above eye-trace and 2D/3D continuity and drops criteria from the bottom up (his percentage weights are a rhetorical device), and calls the last frame of a shot perhaps the most important choice; Littleton marks the best take per script line and weighs performance first; Schoonmaker puts the best performance take ahead of continuity. 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These are individual accounts, consistent with the experimental finding that axis violations rarely hurt enjoyment.\n\nCurator qualifications: Papers and interviews read 2026-10-22; nothing re-analysed. First-person accounts on named films.\n\nLimitations: Papers and interviews read 2026-10-22; nothing re-analysed.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://www.provideocoalition.com/aotc-murch-books/","note":"ProVideo Coalition: Art of the Cut with Walter Murch (2020); ProVideo Coalition: Art of the Cut with Carol Littleton (2018); Film Comment: interview with Thelma Schoonmaker (2014)"},{"url":"https://www.provideocoalition.com/art-of-the-cut-with-oscar-nominee-and-ace-lifetime-achievement-winner-carol-littleton-ace/","note":"ProVideo Coalition: Art of the Cut with Walter Murch (2020); ProVideo Coalition: Art of the Cut with Carol Littleton (2018); Film Comment: interview with Thelma Schoonmaker (2014)"},{"url":"https://www.filmcomment.com/interview-thelma-schoonmaker/","note":"ProVideo Coalition: Art of the Cut with Walter Murch (2020); ProVideo Coalition: Art of the Cut with Carol Littleton (2018); Film Comment: interview with Thelma Schoonmaker (2014)"}]},"tags":[],"type":"article","links":[],"title":"What decision criteria do veteran film editors state publicly for choosing performance takes and cut points, and where do they differ?","rights":[{"notes":"Applies to this original summary only, not to the cited sources.","hosting":"permitted","component":"documentation","license_id":null,"modification":"unknown","evidence_urls":[],"model_training":"unknown","redistribution":"permitted"}],"summary":"Three veteran editors describe their working order: Murch ranks emotion, story and rhythm above eye-trace and 2D/3D continuity and drops criteria from the bottom up (his percentage weights are a rhetorical device), and calls the last frame of a shot perhaps the most important choice; Littleton marks the best take per script line and weighs performance first; Schoonmaker puts the best performance take ahead of continuity. 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