THE ANALYST

01

9 times out of 10, I’ll get the job that starts from the beginning: “Phil” they’ll say, “We got this heap of footage, and we want you to come on in and make some sense of it.”

But then there’s that 1 time out of 10, the time I get called in to re-jig a film that hadn’t yet been tamed by other talent. That 1 time out of 10, the time when I get to jump in and sculpt the clay that already got softened up by other hands, that time is a hoot.

I love jumping into a sandbox that’s already been warmed up. A certain number of permutations have been tried, and, with enough experience under my belt, I can analyze those permutations, analyze the creator’s intent, strategize a new permutation, then… play.

I saw “A Good American” last night, a doc about a math guy who spent his life finding patterns in data that could ultimately save lives. I’m not saving lives in my little edit suite, but I am finding patterns. In some cases I’m letting them go as facile, too recognizable to be taken seriously. In others I’m embracing them as fresh enough to have a real impact on audiences.

I walked out of that film last night with a head full of thoughts, the main one being that life is generally spent trying to make sense of the world around us, the people in it, and ourselves. There are a few who manage to reach some communicable wisdom. They’re usually the ones with something to say, and sometimes they’re like Icarus, too close to the message to make it clear.

02

I think that maybe I’m Icarus’ wing man. Maybe I don’t burn with the stories within me, but I can help the ones who do to spread their flames.

And maybe that’s just fine.

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