Legendary Film Editor Dede Allen on Continuity in the perf

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American film editor, helped to revolutionize film editing in Hollywood with her innovative work on such major motion pictures as The Hustler (1961) and Bonnie and Clyde (1967).
Allen introduced to American films a number of editing techniques from European cinema—in particular, the frequent use of jump cuts (abrupt changes from one scene or camera shot to another).

In the famous ambush scene at the end of Bonnie and Clyde, for example, Allen used some 50 cuts in about one minute, slowing down and speeding up the action to create a remarkably powerful climax to the film.
Allen earned Academy Award nominations for her work on Dog Day Afternoon (1975), Reds (1981), and Wonder Boys (2000). She received the American Cinema Editors’ Career Achievement Award in 1994 and the Motion Picture Editors Guild’s Fellowship and Service Award in 2007.

“When I start cutting a movie, I always cut with ambivalence. I have a definite intention, a definite starting point: the dramatic function of the scene; the psychology of the characters, etc. But when I become absorbed in the material, I suddenly see all the possibilities the material contains. The unexpected. Intended and unintended possibilities. I can’t help wandering into the material. I milk the material for all the small possibilities I see in it. A look, a smile—after the director has said “cut!”, an unintentional juxtaposition of two images. Afterwards I form a general view again. But it is in the ambivalence, in the collision between the general strategy and the pleasant distractions along the way that constitutes editing as art; the true life of the film.”
—Dede Allen

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