Film editing is the slyest craft. In accordance with the traditional approach, the best editing is the least visible. The cinematic world before our eyes should appear organic, stitched from a visual language we mistake for our own. Piecing together disparate shots, the editor creates a seamless whole with subtle shifts in pacing and mood that call attention to anything but themselves. As a consequence, the most effective editing is self-effacing. To highlight this overlooked art, we've called upon Curtiss Clayton, an editor best known for his work on character-driven independent features, especially those of Gus Van Sant. Among his notable accomplishments are Drugstore Cowboy, The Glass Shield, Buffalo '66, Brokedown Palace, The Assassination of Jesse James by the Coward Robert Ford, and, most recently, Henry's Crime. Clayton will share with us the subtleties of an editor's working method and how any given film holds within it an infinite number of recombinant possibilities-what we see in a consummate film is its most elegant and expressive final form. How you arrive at that decisive form while synthesizing the contributions of the director, the cinematographer, and the sound and production teams is at the very crux of that collective effort we call cinema.
Curtiss Clayton takes us behind the scenes of the editor's art on Wednesday, June 20, and follows up with a Friday screening of his directorial debut, Rick (2003), as well as a very special work-in-progress screening of his newest editing effort, Carter's Maladies (2012), starring James Franco. On Thursday, June 21, the San Francisco Film Society will host a master class with Clayton.