Marcia Lucas and her colleagues tightened the first act by rearranging scenes to better establish the narrative and pull in the audience. The reordering allowed for the removal of entire sequences, making the story tauter while still allowing viewers to put together parts of events on their own.
The author at her most godlike is when she’s rearranging the events of her dreamworld like a child constructing and demolishing sand castle turrets. Scene reordering necessitates significant gambles and wide peripheral vision. It’s not about word choice or tightening dialogue; it’s about determining whether each scene belongs in the appropriate place at the proper time—or even if it should be included at all.
(Another visual medium that uses visual cuts effectively is comics, a topic I’ve explored before.)