CloseUp: Investigating the Spotless Mind

During a late night editing session for Unknown White Male, director Rupert Murray had an epiphany: film editing perfectly mimics the human memory. 'Rushes are our day-to-day experiences,' he explains. 'When you make a cut, the first thing you select is the most memorable moment. You build a scene around that, but it's not an exact replica of what happened, only the feeling or spirit. The details are lost, just like when your memories recede into the background and you lose all the detailed information and just retain the essence of what happened.' Soon, similar correlations were also realized, like how Super 8 feels like memories because it's shot like them - in fragmented visual bursts that last only a few seconds.

April 1, 2005

During a late night editing session for Unknown White Male, director Rupert Murray had an epiphany: film editing perfectly mimics the human memory. 'Rushes are our day-to-day experiences,' he explains. 'When you make a cut, the first thing you select is the most memorable moment. You build a scene around that, but it's not an exact replica of what happened, only the feeling or spirit. The details are lost, just like when your memories recede into the background and you lose all the detailed information and just retain the essence of what happened.' Soon, similar correlations were also realized, like how Super 8 feels like memories because it's shot like them - in fragmented visual bursts that last only a few seconds.