#184 - The one about Test Screenings
a few thoughts on test screen-ings.
When you've seen something a thousand times, how do you know if a joke is still funny or a scare still scary?
I once* interviewed editor Julia Bloch, who has edited a diverse range of feature films from The Wall to Woodshock and Worth, but a fair few notable scary ones too, including Blue Ruin, Green Room, Hold The Dark and BAFTA winning His House.
When I asked her about test screenings, this is what she said:
How do you read an audience during a test screening, how do you get valuable feedback from a test screening that something is scary?
I remember watching the Judd Apatow Masterclass and he said he records the audienceâs laughter during a screening and syncs it up on the edit to see where he got the biggest laughs, or where a joke needs more work.
He said âIf they ainât laughing, it ainât working.â
âWhat I think is tricky with that is, that with this kind of âscary stuffâ it is very finely tuned. Itâs very dependent on a lot of different things working in concert; that youâve got the timing just right, and youâve got the sound perfect and youâve got the music just right.
And a lot of that stuff, for me anyway, comes later in the editing process. Itâs not broad strokes stuff, itâs really more fine-tuning. Where youâre trimming frames and doing very careful sound work and other things that youâre not really doing until youâve gotten pretty far along.
So thatâs one of the reasons why you might want to screen later in the process, because it is more execution dependent.
I mean, a joke is a joke and itâs either funny or itâs not. You can make it more funny by fine-tuning the timing of it and all that stuff. But with someone creeping around a corner it could be completely meaningless or it could be terrifying, depending on the execution of it.â