ing ▁simultaneously ▁from ▁different ▁locations ; ▁the ▁cam eras ▁were ▁operating ▁at ▁various ▁film ▁rates ▁from ▁ 2 4 ▁to ▁ 1 2 0 ▁frames ▁per ▁second . ▁He ▁and ▁Pe ck in p ah ▁then ▁edited ▁the ▁massive ▁length ▁of ▁film ▁foot age ▁for ▁six ▁months ▁in ▁Mexico , ▁where ▁the ▁film ▁had ▁been ▁shot . ▁In ▁his ▁ 2 0 1 1 ▁assess ment , ▁Daniel ▁E agan ▁wrote , ▁" The ▁Wild ▁B unch ▁had ▁ 3 , 6 4 2 ▁ed its , ▁more ▁than ▁five ▁times ▁the ▁Hollywood ▁average ▁for ▁a ▁feature . ▁... ▁Mont age ▁this ▁dense ▁hadn ' t ▁been ▁attempted ▁since ▁Serge i ▁Eisen stein ▁back ▁in ▁the ▁ 1 9 2 0 s ." ▁Stephen ▁Prince ▁writes , ▁" The ▁editing ▁is ▁a uda cious ▁and ▁vision ary , ▁as ▁the ▁mont ages ▁b end ▁space ▁and ▁el ong ate ▁time ▁in ▁a ▁manner ▁whose ▁scope ▁and ▁fer ocity ▁was ▁un pre ced ented ▁in ▁American ▁cinema ." ▁In ▁his ▁bi ography ▁of ▁Pe ck in p ah , ▁Daniel ▁Wed d le ▁wrote ▁of ▁the ▁effect : ▁" the ▁action ▁would ▁constantly ▁be ▁sh ifting ▁from ▁slow ▁to ▁fast ▁to ▁slower ▁still ▁to ▁fast ▁again , ▁giving ▁time ▁within ▁the ▁sequences ▁a ▁strange ▁el astic ▁quality ". ▁Gab ri elle ▁Murray ▁summar ized ▁how ▁The ▁Wild ▁B unch ▁affected ▁film making : ▁" Pe ck in p ah , ▁with ▁the ▁help ▁of ▁the ▁brilliant ▁editor ▁Louis ▁Lomb ardo ▁and ▁cinemat ograph er