Book Review: How Siskel & Ebert Became the Most Famous Movie Critics In America
Nostalgic fans of Siskel and Ebert may be the only readers to welcome all this detail. […]
Nostalgic fans of Siskel and Ebert may be the only readers to welcome all this detail. […]
I do hope that by the time you read this, production has restarted as we hoped it would earlier this year. Still, there is a lot of concern about what the volume of work will look like this year and into the future. Business models are changing and talk of mergers continues. […]
“It is a performance-driven film so there’s nothing to hide behind.” […]
“One of the things we had to adapt very early on is the communication in the form of notes from Michael.” […]
“I knew the film we were going to make would have to depart from the 1985 movie in terms of tone – and that we’d have to find our own visual language that would carry on sonically,” Bazawule said. “As we navigated the trauma and abuse in the story, we knew the fantastical elements had to come from reality.” […]
Working with film took Lame back to the dawn of her career. Lame noted that most editors her age and younger have worked only in the digital world, so the film workflow may not be familiar to them. “My first job was working on a film movie, ‘Before the Devil Knows You’re Dead.’ That was shot on film, the dailies were screened on film – everything. I feel lucky to have had that early opportunity to work with film.” […]
“I’ve watched the ‘Star Wars’ films in the past and recognize the famous characters, but didn’t know much beyond that. So coming into this big galaxy was both exciting and new to me.” […]
“In making a film, it is key to have a first-rate cinematographer and a first-rate editor,” Allen said. […]
“So much of the tone of the show is set in the edit bay, and we are super-fortunate to have a group of editors that work in collaboration.” […]
“The Holdovers,” set over Christmas vacation in 1970 at a New England boarding school for boys, is the bittersweet portrait of complicated relationships among a grumpy teacher with a troubled past (Paul Giamatti), his callow student (Dominic Sessa) and a long-suffering dining-hall cook (Da’Vine Joy Randolph). Tent talked about editing for tone, tempo and rhythm, as well as his efforts on behalf of picture editors as the president of ACE. […]
©2016-2021 Motion Picture Editors Guild