Emmys 2019: Laura Weinberg Unpacks the Editing in Netflix’s ‘Russian Doll’
“Comedy is very subjective, and it’s so hard to do.” […]
“Comedy is very subjective, and it’s so hard to do.” […]
“We very consciously wanted to create the late Seventies in Hell’s Kitchen, which was massively dirty. It was loud and it was nasty.” […]
“This was a huge volume of footage, making it one of the most challenging projects of my career,” says Jordan. […]
“During production, Quentin does not enter the editing room. He doesn’t want to look at any edited footage because he just wants to focus on shooting the movie.” […]
“My mother had a tough time at first. She said, ‘You’ve had 22 years to figure this out, and you’ve given me five minutes. So give me some time.’” […]
“The writers want it to feel like real life,” one editor says of the Netflix wrestling comedy. […]
No one really wants to talk or read about cancer, especially in the workplace, unless it affects one directly. […]
“Growing up, I always dreamt of seeing a Latina heroine on TV or in the movies.” […]
“My first thought was, ‘Oh God, this is perfect material for Francis — he’s going to do a fantastic job with this,” remembers editor Anne Goursaud, ACE, regarding Bram Stoker’s 1897 horror novel Dracula. […]
More than 350 post-production professionals turned up earlier this month for TechFest, a new educational technology event presented by the American Cinema Editors (ACE), at Universal Studios in Los Angeles. […]
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