The editing is impeccable. But look at something like the Kill Bill screenplay (which I'd link to here since it's all over the internet if it weren't copyrighted material): there is a great deal of detail about cutting, when it occurs, in some cases on which syllable. Making a movie is a collaborative process, but without a clear directorial vision, there's going to be nothing to edit at all. Menke does a terrific job with material that is very well written and directed. That director hasn't changed despite the loss of Menke, so my only contention is that there's only so much of a diminishing quality level that can be attributed to her removal from the equation, and while I'm glad you get so much out of the editing of those films, I'm not sure it's at least 50%.Foam wrote:Right. And maybe for me, the difference between competently edited and virtuosically edited films is greater than it is for you? The editing of Pulp Fiction, Jackie Brown, Kill Bill, and Death Proof is at least 50% of why I, personally, watch and rewatch them.mfunk wrote:It's not like they're riddled with continuity errors and baffling cuts mid-sentence or something. They're competently if not well edited films
I'll be the first to admit that I tend to be a little oversensitive about my perception that some people see it as important to their own maturation as film enthusiasts to reject Tarantino either entirely or to some degree (I only like Jackie Brown, I only like the old stuff, etc) despite my other stance that he's making better films now than he ever was, which was a pretty damn high bar to begin with. For that reason, I appreciate you elaborating on your statement about Menke, and while I can't say I entirely understand it, it makes more sense to me than it initially did.