If every stage of filmmaking matters, it is in editing that the true magic happens. In the editing room, a film stops being just a collection of recorded scenes and becomes a living, breathing organism, filled with rhythm, emotion, and meaning.
In practice, editing works almost like rewriting a script – but now with images and sounds. Often, what was on paper transforms completely: some scenes are cut, others rearranged, dialogues shift roles, and the meaning of the story can take a whole new direction. Great filmmakers like Orson Welles once said that true authorship lies in the editing room.
Editing also has the power to manipulate time and space. We can leap across decades with a single cut, or, on the contrary, turn seconds into an emotional eternity. Think of suspense: a character’s glance, followed by the creak of a door, makes us anticipate something about to happen. It is through this play of associations that viewers are drawn in — often without realizing they are being guided by the invisible hand of the editor.
That’s why theorists like Sergei Eisenstein placed editing at the core of cinematic language, while modern editors such as Walter Murch emphasize its emotional and rhythmic dimension. Editing is, at its core, the heart of cinema: the place where everything comes together, where narrative breathes, and where the film finally comes alive.
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