Workman’s background as a trailer-maker convinced him that “you could capture the essence of a memorable film in as little as a single shot—if you chose the shot carefully enough.” (Birchard, 91) His assemblage of these “essences” places images together for broad generic or thematic reasons, as well as on the basis of simple physical resemblance (similar shots of darting eyes, people popping bubble-gum) or gag value (one clip finishing a sentence from another). But the only real meaning-based common denominator of the transitions throughout the montage is the fact.
