And so it was a while. It was a month or two months, at least, before we were able to sit down and watch the film in a projection room, with a projector showing film of what we had done. And of course, there were surprises in that. But we worked through them. They were not huge surprises. But inevitably there were some, 'Oh, that shot isn't in focus after all.' And, 'Well, I thought this would be different than it was, but whatever.'
I remember some film... two of the film editors on [The] Godfather III were working with another video editing system [the Montage editing system]. And I was brought in late on that film. And I didn't have time to learn that system. And I was kind of suspicious of that system, to begin with. And so I cut on film. But the difficulty with that [Montage] system, which was still present on the Avid to a certain degree, was that you couldn't read people's expressions in long shots. It was just too granular, too pixelated. So editors would naturally prefer to use shots where they could see expressions, which were mostly medium shots and close-ups. So even though the director had shot long shots, the tendency in those early, awkward days was that films used more close-ups than they should have used because of this tendency. Anyway, we confronted those problems as they came up, and dealt with them.
