If the film’s narration is fast-paced and tight, they feel the editor has done a good job. The common audience and many reviewers often associate the length of the film with an editor’s efficiency. Many reviewers can be found mentioning words like ‘lag’ and ‘crisp’ while describing a film’s editing. In editing terminology, we see an empty timeline gradually metamorphose from a shot to a scene to a narrative to a feature-length film. From deciding the length of a music piece or dialogue to choosing whose perspective a scene has to be narrated from, many decisions are made at the editing table. The collective decisions made by the director and editor shape the final project. The editing table becomes the guide to all the departments involved in the post-production phase like colour correction, sound design, background music, and dubbing. I would say that editing is as important as writing and shooting. Orson Welles once quoted that direction is a critic’s invention and that it’s editing that sets the standards of a film. Here’s Selva RK in this conversation, discussing the often-overlooked role of an editor in filmmaking and the ‘cuts’ that shaped Karnan.

Going by the reception to this film, it is safe to say that Selva, who has films like Mookutthi Amman and Irandam Ulagaporin Kadaisi Gundu to his credit, has leveraged this opportunity to the fullest. Karnan, which marks the editor’s second collaboration with filmmaker Mari Selvaraj after Pariyerum Perumal, allows for metaphors and layers in its storytelling, bestowing Selva with many visual ideas to toy with.

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