#Jumpcut careers how to
#Jumpcut careers movie

The rest of the film will be fast and kinetic. This jump cut scene serves a dual purpose. Coincidentally, this is also one of Brad Pitt's best performances. Mickey slaps his hand a couple of times with a jump cut in between and the audience receives all of the information they need about this person within the span of a few seconds. He receives a wad of cash, and his cohort tries to touch it. The clearest example of a jump cut in the sequence is with the introduction of Mickey (Brad Pitt). To speed things up, Ritchie employs these cuts to fast forward through time and build real narrative momentum. His task it to introduce us to 12 characters, each of which has a distinct personality and goal. Introducing a character in a script takes effort but Ritchie found an efficient way to accomplish this with editing. The entire sequence lasts less than 90 seconds, and in that span of time, Ritchie needs to convey a lot of information. The title sequence contains numerous jump cuts as well as various other stylistic flourishes. Pay attention around 33 seconds into the clip when we see jump cut examples as Lola racks her brain. In this scene, Lola panics, considering any and all possibilities for how she can help get the money.

After her boyfriend loses 100,000 marks he was supposed to deliver to a crime boss, Lola needs to find a way to secure the money in just 20 minutes to save his life. In Run Lola Run (1998), we see a much different application of the jump cut. Building Suspense Make jump cuts amplify the tension

#Jumpcut careers how to

The women clearly don’t know how to type well, and by showing them in this consecutive manner, it provides a moment of levity in an otherwise dark film - a reprieve while simultaneously moving the plot forward.

Secondly, the use of these cuts here is meant to be humorous. Like any montage, we can move quickly through the process efficiently but that's just a practical consideration. Schindler meets with numerous women while his office is being painted. There are two reasons why jump cuts are the appropriate choice for this scene. The camera stays fixed on Patricia (Jean Seberg) but we jump cut multiple times to seemingly random and indeterminate points in the future. On its surface, Breathless is a criminal love story but the expectations one has for such a story are dismantled, one-by-one.Ĭonsider this early scene as we ride in a car with our two lead characters. Vivre La Révolution Jump cuts and the French New WaveThe more contemporary use of the jump cut began with Jean-Luc Godard and his seminal 1960 film Breathless, undoubtedly one of the best French New Wave movies. Our jump cut definition would be incomplete without giving credit to the French. That is, until the French New Wave came along and threw the rulebook out the window.

#Jumpcut careers movie

Shattering that illusion and reminding the audience they were watching a movie was essentially forbidden. This, in theory, would allow the audience to immerse themselves into the film. With the rise of the Studio System in Hollywood during the 1920s to the 1950s, the prevailing approach to filmmaking valued 'invisibility.' Also known as Classical Hollywood Cinema, the goal was to 'hide' the construction of the film. What Méliès was doing with jump cuts is perfect from a novelty perspective but how could filmmakers bring this technique naturally into narrative filmmaking? There were some radical editing techniques collectively known as Soviet Montage happening in Russia, but Hollywood was a different story entirely.