A great read for anyone interested in editing.
There’s a feeling of movement in telling a story, and there is a flow. I think the rhythm, to a certain extent, comes from the direction and what’s on the film, but when you’re running it, you kind of have a feeling that now is the time to cut.
I don’t know how else to say it. It’s a feeling you get, and there’s no way to really instill it. A lot of people have started cutting, and one of the early exercises that I recommend to these people is to get a lot of footage and cut to music. I don’t mean the beat, necessarily, but you’ll get what I mean by rhythm, because what you’re seeing and what you’re hearing will create a rhythm, and then you’ll see it. - Verna Fields
"Jaws is still one of my favorite movies. I didn’t know I could be manipulated like that—so wittily, so teasingly, in a way that made me laugh at my own fear. (The only Hitchcock film I’d seen in a theater was Frenzy, which was too sick to appreciate in the same vein.) What clinched it was that unbelievably brilliant sequence that begins with a high-angle shot of Roy Scheider dropping fish entrails in the water as shark bait. He was resentful; he said to Shaw and Dreyfuss, “Why don’t you guys come down here and shovel some of this shit?” And we started to laugh—he said “shit!” heh-heh—and then the head of the shark appeared in the water (no music, no foreshadowing), and I felt my mind detach from my body and my laugh turn into a shriek and merge into the collective shriek of everyone in that huge theater. I literally shook for the rest of the movie: Every cut by the late Verna Fields had me poised to leap out of my seat."
— David Edelstein.