When choosing where to cut, weigh emotion first, then story, rhythm, eye-trace, the two-dimensional plane of the screen and three-dimensional continuity, and sacrifice from the bottom of the list.
In his book In the Blink of an Eye, the editor of The Conversation and Apocalypse Now gave the six criteria weights: emotion 51 per cent, story 23, rhythm 10, eye-trace 7, two-dimensional plane 5 and three-dimensional space 4. A cut that delivers the emotion is worth keeping even if it breaks spatial continuity, and if something must go it should come from the lower items.
In practice
- An editor keeps a take where a glass jumps between hands, because it is the take where the actor's face breaks.
- A trailer editor ignores screen direction entirely and cuts for rhythm and feeling, and nobody notices.
- Attributed to
- Walter Murch
- Also called
- Rule of six
- Possible explanations
- Murch's reasoning is that audiences remember how a film made them feel and forgive technical errors that do not disturb that feeling, so the lower criteria matter only in so far as they serve the higher ones. The percentages are a statement of priority rather than a measurement.
- In its favour
- It is widely taught to editors and quoted across film, television and video work, and it agrees with research showing that viewers miss many continuity errors when engaged with the story.
- Against it
- Murch himself presents the figures as illustrative, and critics note that emotion and story cannot always be separated, that the weights reflect narrative feature films rather than documentary or experimental work, and that the rule offers little help when the emotional choice is unclear.
- Standing
- The working editor's version of Edit Blindness. Murch also argued that cuts align with blinks, which mark the end of a thought.
Page for this entry