The beauty of film is that there are so many ways to communicate an engaging story.
There’s an effective style of editing used often but frequently overlooked, it’s known as cross-cutting and parallel editing. It has the power to envelop an audience and leave them shocked.
Learning this skill is a true sign of a skilled professional and brings your art form to another level. Once you understand its power, you’ll structure your scenes in a whole new way.
In this article, I’ll discuss what cross-cutting and parallel editing is, why they are used, where you’ve seen them, and factors to consider when applying these techniques.
So without further ado, let’s dive in.
What is Cross Cutting and Parallel Editing?
You may have heard the terms cross cutting and parallel editing used interchangeably and might think they are the same. They are related but have key differences.
Cross-cutting is a form of parallel editing and both are a type of narrative montage. That being said, it’s time to take an in depth look at both of them.
Cross-Cutting
First, there’s cross-cutting. This editing technique alternates between two or more action sequences taking place at different locations. In its simplest form, it can be a phone call between two characters.
In most cases, it’s used to generate a sense of urgency by showing the viewer a full picture of various sets of action. You see this often in bank heists, chase scenes, and other forms of pending doom.
Parallel Editing
Next, is parallel editing which is used in a broad sense and is generally more abstract.
Remember, the concept is in the name ‘Parallel’. This style of editing presents two or more separate plot lines, traveling through time in tandem. These multiple plots can echo each other in various ways.
Parallel editing builds a larger narrative by contrasting themes, drawing connections, providing backstory, developing character arcs, and highlighting dramatic irony.
Cross-Cutting vs. Parallel Editing
In a nutshell, cross-cutting leads to a converging point or confrontation. On the other hand, parallel editing generally does not imply a direct interaction or connection between separate scenes. Parallel editing tends to convey two scenes happening simultaneously
Cross-cutting creates anticipation and is heavily used in action scenes while providing multiple perspectives on an objective. On the other hand, parallel editing hints at connections between characters, storylines, and themes.
This editing technique has evolved over the years and is the hallmark tool of the great Christopher Nolan. Check out this video essay highlighting the creative reach of this modern filmmaker
Why Use Them?
Your story could be straightforward, continuously moving, one scene after the next, but spelling things out to the audience in a linear way is a recipe for a boring movie.
On the other hand, alternating between scenes allows for emotional engagement on many more levels.
Once I edited a short film called Pencil (2018) about a man who fell in love with an art piece. I used cross-cutting to intertwine themes of isolation and connection throughout the film, all while generating empathy for the character’s conflicts. If this story was shown linearly, it would’ve felt detached and less appealing.
So if you want to develop multiple storylines, create profound subtexts, and drive numerous scenes of action toward a converging point then it’s time to use the fundamentals of cross-cutting and parallel editing.
Film Examples
Before we do this let’s look at some famous cross-cutting scenes in cinema to get a better understanding.
Silence of the Lambs (1991)
In this classic example from Silence of the Lambs (1991), we see a spectacular payoff of misdirection using parallel editing. This scene takes two separate events and cuts them into what seems like one situation. We see the SWAT team ready to raid the suspect’s home which gives the audience a sense of relief that the killer will soon be detained.
However, once Buffalo Bill answers the door, we see Clarice Starling and no FBI backup. This unexpected situation shocks the audience and ignites a new sense of urgency. Some say that this parallel editing paved the way for modern films today.
Drive (2011)
In this final scene of Drive (2011) Ryan Gosling and the hit man sit down at a restaurant. They discuss the terms of their agreement over a calm dinner setting. With cross-cutting, you get insight into the violent projection of character intention during the conversation. This adds a powerful contrast to their calm demeanor.
This example also shows a re-edit without the cross cuts. The linear version pales in comparison to the theatrical release.
Strangers on a Train (1951)
In this classic example from Aflred Hitchcock’s Strangers On Train (1951), we see an unusual way to introduce two main characters, not by their faces, but by their shoes. This cross-cutting example also showcases the fundamental principle of screen direction. One pair of shoes is walking from left to right, the other is walking from right to left.
Each shoe is walked towards the other. Then, once both men are seated on the train, their shoes finally bump into one another, ‘kicking off’ the interaction between the two strangers on a train.
Requiem for a Dream (2000)
In Darron Aronosfky’s visceral movie Requiem for a Dream (2000), he uses cross-cutting to alternate between four characters’ lives who’ve been swallowed up by addiction.
Harry loses his arm to the needle, a deranged Marion cuddles with dirty money, Tyrone withdraws painfully in prison, and Sara stares vacantly in the distance from shock therapy. This example leaves a lasting memory from the spiral of addiction.
Dark Knight (2008)
In a scene from Christopher Nolan’s The Dark Knight (2008), four storylines are woven together, with palpable tension. An elaborate masterplan composed by Joker is falling into place and Batman rushes to save Rachel (who we’re led to believe). However, in the last moments of a ticking bomb, we’re shocked to find Batman saving the unexpected Harvey. Rachel was left to perish.
So as you can see from these examples, there are many ways to utilize the two different techniques. Now, let’s get into how you can use them for your next project.
Main Questions To Ask Yourself
To get started, it’s helpful to ask yourself some questions. Your answers will help you choose your course of action.
- Will my scene be more interesting by using cross-cutting or parallel editing?
- How can I intertwine my storylines and is there a larger narrative possible by using it?
- What new information can I communicate by cutting two or more scenes?
- How can the actions of one character’s story affect another?
- Do my cuts have balance and rhythm?
- Is there an equal sense of urgency between my scenes?
- Are my cuts more confusing than engaging?
- Does it develop my character arc and inform their behaviors?
Always look for innovative ways to get your story into the heart and mind of the viewer.
Some Quick Pro-Tips
Ready to go? Before you start here’s a quick checklist to maximize meaning and feeling.
- Storyboard in detail.
- Be mindful of screen direction.
- Focus on narrative priorities; main plot and subplot(s).
- Set the pace, and work momentum from there.
- Balance length, pace, and rhythm between scenes.
- Envision the ending, then reverse engineer scenes leading to that point.
- Use continuity editing tricks, similar compositions, eye-line rule of thirds, and match-cutting.
- Give the audience space to feel and make connections.
- Review how scenes fit into the context of surrounding scenes.
- Arc multiple characters together for added impact.
Taking this approach should allow you to communicate your story effectively.
Wrapping Up
As you can see, cross-cutting and parallel editing is an art with endless possibilities. Although, you may not discover editing opportunities until the post-production process, when you do, translate that spark to the audience.
To gain inspiration, study great filmmakers. For example, try deconstructing cross-cutting scenes from any Christopher Nolan movie, he’s mastered the skill and is one the best to do it in modern cinema.
At the end of the day, these editing techniques are a powerful and strategic way to bring scenes to life. So with that, experiment and practice, experiment and practice!
