ABSTRACT
Coming between the two chapters on reality, story, narrative and image, this interview with the film editor Jonathan Morris underlines how, in a film, the selection, arrangement and juxtaposition of shots — and whole scenes — is what creates the story. The world of the film is created, as Eisenstein says, by placing shots in a ‘proper order within a totality’. 1 Jonathan reveals a hands-on approach to the craft of the editor, as well as all the details that need to be borne in mind when cutting for dialogue, cutting out whole scenes, and finding the rhythm of the film. He lets us into the secrets of Ken Loach's filmmaking style — his quest for authenticity in actors and their performances — which, for us in the light of the previous chapter, raises questions about the fine line between reality and fiction in film.
