Terrence Malick's 2000 film, The Thin Red Line, displays several examples of how editing affects theme, character, and narrative progression in a movie. Out of many instances, one scene shows the involvement of continuity editing and both plot and relationship development. In this portion of the film, Lieutenant Colonel Tall, played by Nick Nolte, and Captain Gaff, played by John Cusack, discuss the war and their current victory over the Japanese bunker.
Tall is the first noticeable character onscreen. In this establishing shot, Tall is surrounded by various soldiers in the background who are investigating the bunker and guarding Japanese prisoners. This is the spatial whole. He walks left as the camera pans left, following him to show that Tall is the main focus. Soon he meets Gaff, and as they shake hands the second shot begins. The movement of Tall continues in the same likeness in this new shot, creating a match on action. Figure movement displays another graphic match. Tall and Gaff remain in the same center positioning onscreen despite the changing of the shots and the angle. These shots then flow together and do not disrupt the ongoing narrative. .
Continuing with their conversation, the two men are now in a medium close up. The space around them is the same as the first two revealing long shots. This is obvious, because the characters are in complete continuity. Time that is used onscreen is the actual time this conversation takes, with no ellipses or jump cuts. Although Gaff remains still and silent in his shots, they never repeat and are always genuine to time. The shots are in a 1-2-3-4 order. This helps the audience clearly understand the conversation and where it is taking place. .
The maintenence of the 180-degree line allows clarity, also. This imaginary line is not crossed. The scene is clear with its placement. Tall is on the left and Gaff is on the right. Camera angles do not trick or confuse the audience.