Past Production: How the ‘Maestro’ Team Recreated the Music – and Marriage – of Leonard Bernstein
“The whole goal was: ‘How do we keep Lenny’s heartbeat and human nature alive through the whole thing?’” […]
“The whole goal was: ‘How do we keep Lenny’s heartbeat and human nature alive through the whole thing?’” […]
The late filmmaker William Friedkin was fond of describing his 1973 horror masterpiece “The Exorcist” as being a meditation on “the mystery of faith.” […]
“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. […]
“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.” […]
The lights came on… Shock. Silence. “Oh man, we’re just working on a schlock low-budget Roger Corman sci-fi,” we thought. […]
“I can’t pick sides. That’s the great thing about being an editor.” […]
“Marty never wants to repeat himself,” said Schoonmaker, the three-time Oscar-winning editor best known for her work with director Martin Scorsese on film classics such as “Raging Bull” and “Goodfellas.” “He gets a great new idea he wants to challenge himself with, and I’m being challenged with him,” she added. “There’s never any boredom.” Their latest challenge is the Apple-financed $200 million production, “Killers of the Flower Moon,” adapted by the writer Eric Roth and Scorsese from the 2016 non-fiction book by David Grann. […]
Nostalgic fans of Siskel and Ebert may be the only readers to welcome all this detail. […]
“I love it when I get into this groove and I can’t believe a half hour has gone by and I’ve just been cutting things.” […]
“It is a performance-driven film so there’s nothing to hide behind.” […]
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