In a nutshell
- Sally Menke used long takes to build tension and immerse the audience.
- She constructed self-contained scenes with clear beginnings, middles and ends, making them engaging both within the film and as standalone moments.
- Menke mastered mimicking and recontextualizing styles, balancing slow and fast cuts to enhance storytelling and create fresh, dynamic sequences.
Sally Menke’s name may not be the first that comes to mind when you think of Quentin Tarantino films, but her work behind the scenes was integral to the success of many of his most iconic movies. Having earned 12 awards and many more nominations, Sally Menke solidified herself as one of the greats in film editing. And there’s a lot we can learn from her 32-year career.
Here, we dive deep into her catalog and discuss what you can learn to improve your editing.
How Sally Menke helped define the Tarantino style
Sally Menke studied at New York University’s Tisch School of the Arts film program in 1977 and graduated with a Bachelor of Arts degree in film. She began her career in the industry working at CBS as an editor. During her time at CBS, she edited documentaries that aired on the channel. She didn’t make her break into cinema until 1983 when she worked as an editor on the film “Cold Feet” (1983). It would take seven years before the next film she worked on as an editor came out — “Teenage Mutant Ninja Turtles” (1990). Then, a year later, she worked on “The Search for Signs of Intelligent Life in the Universe” (1991). While she was starting to build her portfolio, she would soon get her big break.
Menke and Quentin Tarantino first crossed paths when Tarantino was interviewing editors for his upcoming film, “Reservoir Dogs” (1992). According to Menke, he was looking for a “cheap” editor, and after reading the script, she thought the project was “amazing” and wanted to work on it. After getting the job, she and Tarantino worked closely on the edit, and Tarantino was so impressed with her work that he wanted to continue working with her on his next projects. The duo went on to make some of cinema’s best films, including “Pulp Fiction” (1994), “Kill Bill” (2003–2004) and “Inglourious Basterds” (2009).
While Menke is most known for her work with Tarantino, she also worked on other projects, such as “All the Pretty Horses” (2001) and “Peacock” (2010), until her sudden death in 2010.
What we can learn from Menke
There are many lessons we can learn from Menke’s career and her filmography, so we’ve compiled some of the key principles she followed in the editing room.
Don’t be afraid of the long take
Menke wasn’t afraid to let scenes linger. In fact, her use of the long take became a signature move, allowing tension to build naturally. A long take can make a scene more immersive, pulling the audience deeper into the world of the characters. The key is knowing when to use it — letting the camera roll for an extended period can add layers to a scene, making it more impactful.
For example, at the beginning of “Reservoir Dogs,” Menke opens with a long take of eight men eating breakfast. As the camera pans around the table, Menke limits the cuts and focuses on the characters’ interactions. This allows the audience to get a feel for who these characters are and how they interact with the world and those around them.
Also, in “Inglourious Basterds,” Menke masterfully uses long takes in the film’s opening to build tension throughout the scene. In moments where other editors might make cuts sooner as the men speak with each other, Menke opts to stay. She lingers on their every expression, which builds the tension to the scene’s climax.
So remember: Tension doesn’t always require fast editing; sometimes, the absence of a cut can be more powerful.
Focus on constructing a scene that can stand on its own
Every scene Menke edited could stand on its own as a mini-story. She understood that a well-constructed scene has a beginning, middle and end, even if it’s part of a larger narrative. This approach helps maintain the audience’s interest and ensures that each moment contributes meaningfully to the story. Editors should aim to create scenes that not only contribute to the overall narrative but are also compelling on their own.
Menke’s ability to do exactly that is apparent when looking at how often scenes from movies she edited are watched online. Going back to the example of “Inglourious Basterds,” the opening scene currently has over 3.4 million views on the Universal Pictures All-Access YouTube page. That’s a significant number of views for a six-minute clip from a movie — and that’s not even counting unofficial uploads. Likewise, the five-point palm exploding heart technique scene in “Kill Bill: Vol. 2” (2004) has over 7.2 million views on Movieclips’s YouTube channel.
All this is to say: Menke made scenes that are compelling to watch on their own. This is not only great for keeping audiences engaged while watching your movie but it’s also a smart marketing approach. If you create scenes that go viral online, you’re more likely to draw more eyes to your movie.
It’s okay to mimic
Menke wasn’t afraid to take inspiration from other films, and neither should you. When we say “mimicking,” we don’t mean copying. We mean understanding what works and applying those techniques in your own unique way. In an interview with the U.K.’s Guardian, Menke said, “Our style is to mimic, not homage, but it’s all about recontextualizing the film language to make it fresh within the new genre. It’s incredibly detailed.”
We can see Menke mimic the style of kung fu films and spaghetti Westerns in the “Kill Bill” series. Likewise, Menke mimics the feeling of violent and provocative pulp magazines for “Pulp Fiction.”
Ultimately, by studying the styles of other works, you can find new ways to approach your projects and deliver to the masses something that is familiar yet fresh.
Contrast between slow-cut and fast-cut action scenes
One of Menke’s strengths was her ability to use contrast between slow-cut and fast-cut action scenes. She often juxtaposed slow-cut scenes with fast-cut action to build tension with urgency.
In the “Royale w/ Cheese” scene from “Pulp Fiction,” Menke starts with a relaxed, slow-cut conversation between Vincent Vega (John Travolta) and Jules Winnfield (Samuel L. Jackson) as they discuss European fast food. Menke uses longer takes and minimal cuts, allowing the dialogue to flow naturally and establishing a calm atmosphere. However, Menke follows up this scene with the one where Vincent and Jules confront Brett and his associates. Here, Menke employs rapid cuts and quick camera movements to heighten the intensity and urgency of the confrontation. By juxtaposing these scenes, Menke builds tension and non-verbally communicates the narrative’s shifts in tone.
What we can take away from this is that slow cuts can be used to build tension and suspense, while fast cuts can convey chaos and urgency. Understanding how to balance these scenes throughout your film can make your scenes more impactful, no matter their pacing.
Dialogue-driven scenes can be strong scenes
Menke showed that dialogue-driven scenes could be just as powerful as action-packed ones. She had a knack for pacing dialogue, allowing conversations to flow naturally while maintaining the viewer’s interest. The trick is in the timing — knowing when to cut to a reaction, when to linger on a speaker, and how to keep the rhythm of the conversation engaging.
Again, in the opening of “Inglourious Basterds,” the scene doesn’t have much action. The majority of it is two men talking. However, you could argue that the intensity is higher than in some action scenes. Menke achieves this through pacing and knowing when to cut (and when not to).
Lessons learned
Sally Menke’s work as an editor left an indelible mark on the film industry. Her ability to elevate storytelling through long takes, scene construction, mimicry and contrasting cuts has made her an enduring figure in cinematic history. From her collaborations with Quentin Tarantino to her other projects, Menke solidified herself as a master of her craft.
We can all learn from her work and, in the spirit of Menke, recontextualize her techniques to create something fresh.
