A week after the test screening, I sat down with editor Tristan Ofield in a corner of Steve Deery’s book depot to take a final pass at Amelia’s Letter. Steve balanced on a pile of boxes beside us. Who says exec producers get all the luxury?
The main aim of the day was to make the film clearer. This became a fascinating exercise with notes from the test screening like, “I didn’t get that Barbara was a writer,” although she spends most of her screen-time sitting at a typewriter. How could we configure these images to more effectively tell the audience that Barbara is a writer, without the benefit of dialogue or ridiculous captions? And without showing her actually writing, because the whole crux of the film is that she’s suffering from writer’s block – and that needs to come across too. How? By really getting into the nuts and bolts of how motion picture editing tells a story, that’s how.
The previous evening I’d been watching 2 Reel Guys, a YouTube series about the creative filmmaking process. It’s incredibly cheesy, and a little bit soporific, but it does make some excellent points. Like how just two different shots can be edited together in three different ways for very different effects.
So how did we make it clearer that Barbara was a writer suffering from block? First, Tristan altered the scene to open on a shot of Barbara standing thoughtfully over the typewriter, with the machine dominant in frame. He held the shot for quite a while to let the audience take it all in. “A reminder of the power of not cutting,” he pointed out.
The second step was for us to really consider when to cut to the keyboard, or to the blank paper. The scene’s previous iteration had started on the blank paper, but I think that image failed to sink in for viewers, who were too busy trying to work out where they were and what was going on. Moving it later in the scene made it much more powerful.
It was also important not to cut to something else at the wrong time. There was a cutaway of a letter that had to be included somewhere for plot reasons, but I was convinced that if we showed that immediately before the typewriter CU then we would be telling the audience that Barbara was trying to compose a reply to the letter. Context is everything in editing. Put a different shot before or after a certain shot and you can completely change the meaning of that shot. By cutting to the letter as Barbara puts a teacup down next to it, Tristan was able to avoid it gaining undue importance.
Another big lesson/reminder of the day was: less is more. I had been feeling for a while that Amelia’s Letter had one too many layers of supernatural mystery. Would the film be clearer if one was removed?
Steve was sceptical, and understandably so. No writer loves having chunks of their material hacked out. But to his credit, he let Tristan and I try it. After watching this revised version through, all three of us were convinced it was the right decision. Everything else in the film had become stronger because this one thread had been removed. Minor characters gained more importance because they weren’t competing with the removed element, and major characters’ challenges and emotions shone through more clearly. And the audience would have a much better chance of solving the film’s two remaining mysteries without scatching their heads over the third one too.
At the end of the day, we left greatly satisfied with what we had accomplished. Soon Amelia’s Letter will enter the next phase of postproduction: sound design, music composition, grading and visual effects. Stay tuned.