feet of film.
TO: You had something like 157 hours of material.
SC: Right and I was working with two KEMs, both with three heads on them, and you had to load everything up and then take everything down and then load everything up…
TO: People today forget how physical film editing was…
SC: I thought that Avid was just the way to be doing this. I tried to convince them to make the jump, but it was just too late in the process. With Wagon’s East, we started that on film, but then we moved to Lightworks. In all fairness to Lightworks, it was very early, and we had a lot of technical problems. On the next picture, I went back to Avid and I never looked back.
TO: What are some favorite films?
SC: Oh, my gosh, there are so many. Clear and Present Danger Clear is one of my favorite movies of all time. My wife or son will tell you I probably look at that about once a year. The editor did a great job on that film.
TO: Neil Travis.
SC: I just really have always admired his work, from Dances With Wolves and Patriot Games to Clear and Present Danger. He was just an excellent editor and I told him that. Lawrence of Arabia influenced me tremendously. The Wild Bunch influenced me in another way. When I really love a film, I go back and see what made that film tick and where. I’ll look at the individual scenes and in the overall rhythm.
TO: What have you learned along the way?
SC: I’ve been fortunate to become close friends with many of the directors I’ve worked with. I think it’s a collective learning experience—that you learn how to read the personalities. You learn how to accomplish what you want to accomplish while working within the framework of that director’s personality. Over the years I figured out that you might as well be truthful up front because if the Director doesn’t agree with your opinion, you probably won’t be a great team anyway. And if he does agree with your opinion, you’re off to a great start. And it’s the same way with the film. A director has his or her point of view and you have to hope that the vision and the point of view is something that’s going to connect with the audience. So, you have to be honest as a director and honest as an editor.
TO: Have you had a job interview go a different way than how you thought it would go?
SC: One of the funniest things that ever happened to me on an interview was with Kirk Douglas. He was going to direct a film called Posse. I had read the script and I was waiting outside. They called me in and I shook hands with Kirk and he says, ‘Have you got your script with you?’ And I said no and he hands me a script and says, ‘Go to page 38. The part of so and so.’ And he tells me to read that part and that he’s going to read the other part. And I say, ‘Okay…’ And I do a couple of lines and you can tell he’s acting with me.
TO: You must have been, like, ‘what’s going on?’
SC: I had some acting experience growing up, but I asked him why he wanted me to read the part. And he said, ‘Well, you’re here for the part, aren’t you? You’re an actor, right?’
And I said, ‘No, I’m here for the film editor job.’ And he says, ‘Well, you don’t look like a film editor, you look like an actor! I couldn’t possibly use you as an editor.’
TO: You’re kidding.
SC: And that was the end of that interview! (Both laugh) I walked out shaking my head, thinking I should have said that I was there to read for the part! Who knows, maybe I would be an actor now instead of an Editor.
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