▍ Film Editing: The Editing Idea of Tertiary Creation

If the cinematographer is the director's left hand, then the editor is the director's right hand, tasked with perfectly presenting the director's creative vision and artistic conception through the assembly of shots. Zhu Lin emphasized the importance of maintaining a certain creative distance from the director when starting the editing process. "The script stage is the primary creation, the shooting stage is the secondary creation, and the editing stage is the tertiary creation. In the first two stages, directors tend to be deeply immersed," she explained. Her working habit is to first complete an initial editing version independently before engaging in discussions with the director.

When the director's preferred shots conflict with the narrative rhythm, her strategy is to start with a gentle approach and then be firm - first conducting a rational analysis of the impact on character development and pacing. If she cannot convince the director, she will introduce a third-party evaluation to provide an objective perspective.

Zhu Lin noted that in the process of determining the editing narrative, the initial editing version should always follow the creative logic of the script. After completing a linear edit, adjustments can be made to the narrative logic and pacing based on specific circumstances. How to improve narrative efficiency? Zhu Lin shared several tips, such as using montage techniques for progression and employing comprehensive shots to convey more complex and rich information.

How does one develop their own editing mindset? Zhu Lin stressed the importance of extensive accumulation of experience, forming a sense of perception through understanding the material, characters, and storylines. She also highlighted that "editors are another kind of magician. The editing rhythm should resonate with the audience's psychological rhythm, much like a traditional Chinese doctor feeling a patient's pulse. When you hit the right spot, the editing effect will be better."

▍ Technical Challenges: The Pitfall of Overwhelming Material and Balancing Expression

Throughout the filmmaking process, editing spans from pre-production to post-production. The more shooting Zhu Lin is involved in, the more she realizes that more material is not always better. "An overwhelming amount of footage can be a burden for editors. Precise shooting is what truly helps improve editing efficiency," she said. To avoid situations where editing cannot salvage the footage, Zhu Lin advises directors to capture every key detail of the script, providing editors with creative connection points.

Balancing the filmmaker's vision with audience acceptance is also a crucial task for editors. Faced with such a difficult issue, Zhu Lin noted that this depends on the film's genre and target audience. If the film is aimed at a mainstream audience, she would lean towards audience preferences in editing; for the auteur system film, she would prioritize the filmmaker's expression while editing. "It's a matter of weighing these factors, but there is no absolute answer. In recent years, I've also noticed changes in audience preferences and am constantly learning," she added.

▍ AI and the Future: Tools Cannot Replace Human Intuition

Nowadays, AI tools are continuously extending and growing throughout the upstream and downstream segments of the film and television industry chain. Zhu Lin holds a cautious attitude towards this phenomenon. "AI will definitely become more and more intelligent, and will also be involved in trivial tasks such as analysis and tagging of film and television projects, but editors will be difficult to replace." In her view, editing requires not only technical ability, but also emotional judgment and insight into life and human nature.

Zhu Lin emphasized the importance of extending emotions through editing. "A shot should never convey only a single, one-sided message. It should also allow the audience to feel something more."

▍ Advice for Newcomers: Trust and Attention to Detail

"Whether we are directors, production designers, cinematographers, or editors, all our work is for the characters. All departments should collaborate to make the audience believe in the story," Zhu Lin said. She believes that aligning everyone's focus is more important than overly pursuing stylistic expression.

She also advised newcomers to pursue any idea they have. "Imagination often differs from reality. Only by actually doing it can you find the most suitable expression for yourself." Regarding editing, she highlighted the importance of balancing work and life. "Editing is never perfect. Without a deadline, you might keep editing endlessly. If you realize your mood is affecting your work, take a break."

Q1: How to deal with negative space in editing?

Zhu Lin: I often tell my editors that when climbing stairs, you don't have to step on every rung. You can jump from 1 to 4 and then to 6. How you fill the gaps is up to your logic and approach. This negative space creates suspense and allows the audience to think and feel during the viewing process.

Q2: How to consider the audience's viewing experience in editing?

Zhu Lin: Overall, first guide the audience to experience the ups and downs of the characters' emotions, such as comedic punchlines and timing; second, build up the audience's emotions so that they feel a lasting impact after the viewing, as if something is stirring inside them. The specific approach depends on the film's genre.

Q3: How to find the editing rhythm of a documentary?

Zhu Lin: First, clarify the characters, and then consider the rhythm. Don't rush. Sometimes if the editing rhythm is too fast, you might lose the connection with the audience; but don't stay too close to the audience's mental rhythm either. When the audience is about to catch up, take a small step forward, or they will get bored.

Q4: How to deal with the situation when I feel mentally fatigued during editing?

Zhu Lin: When you feel mentally fatigued, you need someone to motivate you and listen to different voices. But don't amplify critical opinions too much. Be selective.

Q5: How can newcomers collaborate effectively?

Zhu Lin: Find common ground. First, everyone should love movies. Second, everyone should be willing to learn and try new things. With shared passion and drive, the likelihood of success increases. Since we are partners, we need to engage in long-term communication and exchanges. Understanding each other will also help the development of cooperation.