Evolution just doesn't give up...

So I have just yesterday finished a new evolutionary edit.
I really feel that it the film is ready for the next two steps, so on Thursday I am bringing it to Roland and his sound design colleagues to get their feedback. The other step, is to brief the composer, Joakim, in Norway and get him to begin his sketches.
But I promised more on what the edit it contains.
I already reported that it now includes two sets of abstracts, the void, and Norway. I have done as I said, and began to differentiate them. The Norway footage no longer include slow-motion or any other non-natural effect. What makes them abstract is a combination of their position in the film, that is they break the film time, the juxtaposition of the individual shots, which by their nature are disconnected and incomplete, and then music and/or sound design. I haven't completely abandoned effects, however. Some of the pieces or incidental sound, such as the small boat idling, I have kept at 40% speed. I feel that music and sound effects provide an entry into the unconscious. The viewer might not be aware consciously of the effect, just know it doesn't sound right.
But more on what Robert and Nathan, the editor, gave as feedback...
I think I already reported that Robert said it was the first time he saw the film. I think I put this to the fact that I waded in, and began to attempt to bring a rhythm to the edit. Some of this came from my friend Sarah, who suggested I examine each element closely again - does it serve the film? Is it clear? Of course I had, and each element did serve the film and did point in the right direction, except that there were often three elements achieving the same thing. The viewer was confused because they excepted something new, not the same again. Some choices, and then some cutting.
Now Nathan being editor gave me some basic technical feedback...the way to cut from one shot to another, focusing on the reaction of Claire, instead of Paul's speech. Some of this I could respond to, some of this was impossible. I had made a lot of choices in the shooting which narrowed my choices in the edit. I could not regret it, as there was no other way to make the film. With experience I might have shot scene x differently, but I couldn't have known that before jumping in as I did.
Still the most fundamental suggestion was in cutting one sequence, the domestic fight between Claire and Paul that begins near the top of the film. Now to be fair, Robert and many others have expressed some confusion at this scene. Why does Claire stop Paul from leaving, when later she walks out on him, without even saying goodbye? My response was of course that she was conflicted. She doesn't know why she wants him to say. Relationships are messy. Nathan's and Robert's response was that not enough is revealed to account for this contradiction. So I removed the sequence. I struggled to solve some problems. This scene anchored the abstract sequence that started the film- what could I attach it to now? This was the most fundamental problem I needed to solve in this version.
So this was the edit that I saw with Cameron several weeks ago, and it was very strange the effect it had. Suddenly all the rest came clear. There were no pace problems, except perhaps some sequences were too fast. These were the bits I tightened up previously, fruitlessly trying to solve the more fundamental problem. I had to go in and restore some bits to sort out the rhythm.
So all of this I have included in this new edit which I will see for the first time at Roland's new studios on Thursday. More to report then.