{"id":11253,"date":"2011-03-21T18:37:59","date_gmt":"2011-03-21T18:37:59","guid":{"rendered":"http:\/\/www.filmdetail.com\/?p=11253"},"modified":"2011-03-21T19:47:12","modified_gmt":"2011-03-21T19:47:12","slug":"david-lean-on-editing","status":"publish","type":"post","link":"https:\/\/www.filmdetail.com\/2011\/03\/21\/david-lean-on-editing\/","title":{"rendered":"David Lean on Editing"},"content":{"rendered":"

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Director David Lean<\/a><\/strong> began as a film editor and throughout his career stressed the importance of how things cut together.<\/p>\n

When he broke into the industry at Gaumont Studios<\/a> in the late 1920s doing odd jobs, he worked his way up to editing newsreels and feature films such as Pygmalion<\/a> (1938) and One of Our Aircraft Is Missing<\/a> (1942).<\/p>\n

This laid a solid technical foundation for his illustrious career as director which included Great Expectations<\/a> (1946), The Bridge on the River Kwai<\/a> (1957), Lawrence of Arabia<\/a> (1962) and Doctor Zhivago<\/a> (1965).<\/p>\n

For his last film A Passage to India<\/a> (1984) he combined his directing and editing roles, as this clip from an episode of The Southbank Show<\/a> in 1985 demonstrates:<\/p>\n