CHAPTER 9
The First Screening
If a dialog editor cannot make his work invisible, he has overstepped.
Richard Fairbanks, rerecording mixer
Sister Rose's Passion
All films have directors, and we must listen to them and respect them and honor their wishes, even though any honest sound editor must admit to fantasies of tossing him onto the floor and strangling him. “If only he'd listened to me, Rome would be saved.” Get a grip. It's not your film, and you may not be seeing the big picture. Besides, the director just may be right.
On a typical small film, the dialogue editor will meet with the director three or four times: just after you open the OMF and check it for accuracy; again near the end of your editing, when it's time to spot the ADR; once, after you cut in the ADR, in order to check the loops and consider alternate takes; and perhaps again just before the dialogue premix. Depending on the makeup of the sound department and the film's budget, you may see the director more often or you may have no meetings at all with her, turning instead to the supervising sound editor for guidance.
Some directors create sound books, thick spreadsheets that chronicle the unfolding aural image of the film. This is mostly the concern of the sound designer, but if a sound book exists, read it; it may contain important information about ADR and wild sound.
Spotting Session Basics
The initial spotting session with the director is the most comprehensive meeting, as it likely involves the entire sound crew along with mysterious people you may never see again. In many ways, though, it's one of the easiest meetings because there's no baggage, and expectations and spirits are often high. Most of the burden in this meeting falls on the supervising sound editor. Still, there are things you have to pay attention to.
- Note problems that may result in unexpected work on your part and report them to the supervising sound editor during the meeting. It's best to put these on the table now.
- Discuss whatever general ADR issues you observe in the first screening (if there's an ADR supervisor and/or editor, you're pretty much off the hook on this one). Most ADR calls can be made only after detailed study of the tracks, yet it's all but certain that the producer will want a ballpark idea of the film's ADR load during the meeting.
- Get a list of the director's ADR wishes, as this not only will tell you which lines must be replaced but will also give you some insight into the director's aesthetics and hobby horses.
- Make sure you have all the materials you need. This is a rare time when you have the attention of the director and others from the production. If you're having a problem getting materials from the production office, now's your chance.
- Make sure you understand the schedule—screenings, ADR recording dates, rough dialogue mixes for the SFX department, dialogue premixes, and so on—before the meeting is over. It's the job of the supervising sound editor to manage these issues, but it's in your interest to clear up any misunderstandings. This initial screening should make you feel more informed and confident, not the opposite.
One thing that wasn't mentioned: where to hold this important viewing. I prefer to do this any place but the picture editing room, the worst imaginable listening environment. The ideal spot is the dubbing stage where the film will be mixed, ideally with the rerecording mixer and someone from the production. In all honesty, this does not happen too often, but if you can pull it off, there are several advantages.
- You—and everyone else—will hear the dialogue tracks in all their naked glory, not masked by the buzz of the Avid's drives or disguised by the small speakers of an editing room. The raw tracks almost always sound their worst in the full-spectrum mix room, so the client can no longer say, “Hey, it sounded great in the Avid.”
- You and the mixer can discuss ADR, hopeless scenes, and other technical issues.
- There are few distractions in a mix room or screening room, so you can better assess the dialogue as it relates to story and character.
- Screening in a mix room is expensive, so the producer probably won't let the meeting last all night.
It's All About Listening
If this is your first time seeing the film, you'll have to work doubly hard during the screening. You need to listen for dialogue issues (off-mic recordings, noisy settings, radio mic problems, dolly noise, etc.) and at the same time pay attention to the narrative so that you know what's going on and can start to think about the dialogue's contribution. Following the narrative is never really the problem—that part comes naturally. The hardest aspect of a screening is suspending the story enough so that you can notice the problems. Left to our own devices, we tend to “veg out” with the movie and fail to notice all but the most obnoxious dialogue errors.
Staying in contact with a film you're screening and looking beyond the story are largely matters of brute-force discipline. You just have to make yourself focus. A few tricks may help.
- Take the best seat in the room, front row center if you're screening on a workstation. You, more than anyone, need to hear the tracks.
- Be relaxed. Find a good chair and get comfortable.
- Use a form like the one in Figure 9.1 to remember what questions to ask and what to listen for.
- As each scene begins, immediately identify the room tone, the noise level, and the quality of the dialogue. Take notes if necessary, perhaps with the aid of a form that reminds you what to ask—of the film and the filmmaker. By gathering this information at the beginning of each scene, you needn't worry if your mind wanders a bit. As soon as the scene ends, be alert for the next scene's troubles.
- Watch for moving cameras. When the camera moves there's likely to be dolly noise or perhaps unwanted footsteps. When the scene is shot in an old Parisian apartment with a parquet floor, you're bound to encounter nasty creaks. It's very easy to miss even the most scandalous dolly noise or floor squeak when the movie is good. Just remember: a moving camera spells trouble and Parisian apartments are meant to be seen and not heard.
- After a reel or so, pinch yourself. You may be drifting or have become waylaid by the story. It's actually easier to screen a mediocre film than a masterpiece, since you're less likely to be kidnapped by the plot. Films in a foreign language are even easier to study.
