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At that point, he begins work on the next scene.
Promising to keep the snapshot with her forever after he kinda suggests she do so reminding me of Willie John Luriee) in Stranger Than Paradise giving Eva (Eszter Balint) a dress to wear, so she can fit in, in America – just as we see the dress in the garbage on the next scene, we see the photo left behind, creased on a chair.
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The magic ends when the lights come back on for the next scene.
With minutes left before they had to move on to the next scene, Vito was given a final try.
Rather than tackle the biggest problems first, he begins at the beginning, and only when he is satisfied with that will he go on to the next scene.
They shoot one more take and, although she's still not happy, she agrees to move on to the next scene.
There are some gruesomely unsettling scenes and moments, particularly at the beginning, although Franz and Fiala have an exasperating habit of leaving scenes unfinished, moving enigmatically on to the next scene.
We simply move on to the next scene, wherein the delinquent is suddenly an altar boy, and the fomenting calamity in the restroom, the supposed key to his religious conversion, lies at the center of his story as inert as a defused bomb.
Once the chorus comes in, the clubbers begin dancing and raving in normal motion, periodically slowing down; Usher is krumping pass them, moving on to the next scene.
We would discuss each scene; write various versions of it; then select the agreed-upon very best version before moving on to the next scene.
It's dramatic and moving and wonderful...and almost slips by here as the set immediately starts to rotate because they're already moving on to the next scene.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com