theory and practice of editing new yorker articles
this was written by walcott gibbs around 1937 apparently at the request
of katherine white who was then trying out a succession of new fiction editors
so what are we going to cut to if we cut off of this stuff
um scenes in the film
someone else's problem
writers always use too damn many adverbs he said violently eloquently and so on a writer who can't
make his context indicate the way his character is talking ought to be in another line of work modern
art modern art our writers are full of cliches just as old barns are full of bats supposed to
be charming there's obviously no rule about this except that anything that you suspect of being a
cliche undoubtedly is one i only asked you to proofread because i thought i'd be even more
impressed by how good it already is let's start with the typos pieces about authors reporters
poets etc are to be discouraged in principle nobody gives a damn about a writer or his problems
except another writer just try to make it sound like you wrote it that way on purpose
editing on manuscripts should be done with a black pencil decisively one hour to press you're fired
consider whether the last sentence of a piece is legitimate and necessary or
whether it is just an author showing off it came to be known as the night of a thousand slugs
on the whole we are hostile to puns
try to preserve an author's style if he is an author
and has style
let us take a sightseeing tour a day and enwee
i went from town to town around france looking for a place how can we find everything in our
movie in this town transform things but use what's there and never leave
the french dispatch is a portmanteau it's a kind of omnibus film a collection of short stories
set in a fictional french city only blase the city is on we the city isn't paris
you know it's sort of an imagine or amalgamated version of different aspects of of old paris so
you can say it's france but it's a poetic france it's it's created and has elements
from the past or from fiction we're working in ongolam which is a beautiful classical town it's
quintessentially french and it's architecturally it's beautiful it felt like it could be a period
setting quite easily it had levels there's something just immediately gripping about
a town with staircases and sloped roads and all these things on wii rises suddenly on a monday
when i first read this script it was clear to me that every sentence as i read the first 30 pages
was an entirely new set and i immediately spoke to him and said how how how do we do that well
i mean it started with a substantial panic and a realization that that's exactly what this was that
each shot was really defining a new set i like how ruthless you are it's part of your beauty i think
the kidnappers lair and we were building a whole new building but a whole new building
on kind of a mountain in the middle of the city west has kind of a great history of finding
alternate studio spaces the city of angulam became our sort of back lot we took over this factory and
that became a de facto like film studio in the center of town had a bunch of different factory
bays and we sort of took them over and they were our different stages and then we also had all of
our workshops there all of our storage there and it became a studio i mean it really became an
actual film studio totally from scratch without even electricity when we walked in the door
how'd you get out there all the city of the town was working with wes the people of angulam there's
well over a thousand residents of angulam who are in the movie so they became kind of
our partners we have an animated sequence in there which was all animated in angular with
people who live there and study there this movie is obviously a tribute to france because all the
visual references they're like a real france but they've been a bit twisted because
they went through west's brain it's all from research even though it's a kind of confection
it's sort of invented stuff and the fantasy element to it it is basically
all from research and how do we shape the research into our story whatever you're
doing that you want to do it and then try to give it as much authenticity as you can
what is this world what fast-paced detailed symmetrical you know wonderland in this guy's head
are we all being brought on ship for to cross seas with him as our captain it reminded me a little
bit of a pop-up magazine turned into film the look of the film the photography the art direction
the attention to detail of the prop the wardrobe the choreography between the acting and the camera
it's just very unique it's just very wes anderson he takes it to another level
thank you for taking a look at my follow-up video to wes anderson's the french dispatch making of
uh it was great today that we were able to see some really cool on location scouting
and how they were able to turn locations into like a period uh location so it's really cool
to see all that especially as a filmmaker like myself i hope it was informative for you as well
go ahead and comment down below what was informative for you and it was really funny
to see bill murray kind of talk like how to um you know write like a new yorker and stuff like
that hopefully there was some really cool little tidbits there that you learned from but let me
know again what is your favorite wes anderson movie and um are you a filmmaker are you into
uh copying wes anderson style let me know in the comments down below as well
hit the subscribe button hit the notification bell i'll be doing videos like this all the time
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