As you’re probably aware, I began my art career as a print cartoonist, and my love was sequential cartoons. In other words, I drew a lot of six- to nine-panel cartoon stories.
It was via this process that I learned the rudimentary rules of editing—what stays and what goes. What’s important for the story, and what’s not important? I learned about timing, pacing, building momentum, and surprise endings. All of these qualities are important in the process of editing a film.
In fact, when I create my storyboards, which resemble print cartoons, the editing of the film is pretty much predetermined. ...