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When making a feature-length documentary (especially one on a subject in constant flux, such as this one), the director(s) usually do not have the luxury of working from any kind of script. Therefore, it falls to the film editor to “find the story”—to shape the overall structure of the material as well as the pacing of scenes, until the movie, as perdedor says, “flows together extremely well.”

This film was edited by Sam Pollard, who I was lucky enough to have as a professor at NYU. Since I did receive a lecture on the subject, I don’t feel this node is complete without the recognition of Sam’s sizable contribution: deciding what goes where, or rather, when. No disrespect to perdedor’s comprehensive writeup should be inferred.

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