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And then a matching frontal wide of Rodrigues seated on the ground and the Interpreter sitting next to him on a stool – the lower position of Rodrigues indicating that he is considered not the equal of any of the Samurai.

But from that point on, as the interrogation develops, Marty shot the scene in a very formal way – a wide frontal of the six Samurai – quite a formidable shot of them seated in their beautiful kimonos representing the powerful authority confronting Rodrigues.

It begins tight on six fans in the hands of the Samurai and then there is a montage of the Christian prisoners watching from a cage, and close-ups of Rodrigues and the other actors. For example, there is a scene in a courtyard of the prison where Rodrigues (Andrew Garfield) is being questioned by the Inquisitor Inoue (Issey Ogata) and five other Samurai. SCHOONMAKER: Certain scenes were more formal than others. HULLFISH: You mentioned the word “formal.” How does that inform your editing to know that the film is formal or that the idea is formal? (Center) Issey Ogata as Inoue/Old Samurai in the film SILENCE by Paramount Pictures, SharpSword Films, and AI Films The subject matter of film which is about faith and doubt provokes profound thoughts and a slower pace is more conducive to that.

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SCHOONMAKER: The slower pacing of the movie is appropriate to the 17th century and to the country of Japan where things were very formal at that time. HULLFISH: The featurette describes the pacing of the movie as a deliberate method to allow the audience to relax and allow them to engage with the movie on an emotional level. I’ll follow up some of the points in the video in the following interview with Ms. Here’s an exclusive premiere of a featurette about the editing of Silence. – to have the audience make up their minds about what they are seeing – not to tell them what to think with the use of a big score or loud sound effects. This mysterious opening allows the audience to calm down from our frantic lifestyles of today and just breathe and start to engage and think about the film – to start to feel it. Then the first foggy image of the film appears with very quiet sounds of steam from the hot springs where priests are being tortured with scalding hot water in an attempt to get them to give up their faith. Many people have told me how much they love that opening. It’s actually cicadas, and they build until the logos end – and then there is a sharp cut to black and the sound of the cicadas continues to build over black and then the cicadas cut off suddenly as the title “SILENCE” appears on the screen – with no sound at all – dead silence. At first, you hear hardly anything – maybe a little bit of wind over the logos – very low and then you realize that it’s the sound of insects. So we got permission to remove the sound for all the production logos at the beginning. SCHOONMAKER: I think right from the beginning Marty wanted to prepare the audience for a more meditative film – to help them transition away from the kind of crash bang way movies usually begin these days. HULLFISH: The audio design of the beginning of Silence is very strong and very different.

I had the honor to interview her for her most recent collaboration with Martin Scorsese, Silence.

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She has won three Oscars for Best Editing and been nominated for four more, plus countless other nominations, awards and accolades. She has been teamed with Martin Scorsese in one of the longest-running director-editor collaborations in film, helping to shape cinema masterpieces such as Raging Bull, The Color of Money, The Last Temptation of Christ, Goodfellas, Gangs of New York, The Aviator, The Departed, Hugo, and The Wolf of Wall Street. Arguably, no name is known better in our industry. Thelma Schoonmaker, ACE is an iconic presence in the world of editing. Pictured: Adam Driver, Martin Scorsese (Director), Liam Neeson, Thelma Schoonmaker (Editor).-Photo by: Marion Curtis/Starpix.