Schlepping My Way to the Top

January 1, 2011

I love movies and TV shows. I love watching them and I love making them. I always have, for as long as I can remember. My career as an editor would have been just about perfect if I could have slept my way to the top. Unfortunately, with my looks, I was destined for a more conventional approach. […]

Striking Just the Right Balance

November 1, 2010

A ”Jack-of-all-trades and master of none” is what I thought of myself until I turned 30. That’s when my wife, Carole Ann, found an ad for an engineering job at CBS. Knowing nothing about the broadcasting industry, I was reluctant, but with the help of my degree from the Western Electronic Institute and some last-minute cram sessions at the library, I was hired as an engineer in the videotape department. […]

Crossing the ‘Rubicon’ with New Workflow: Why Not Keep it All in the Cutting Room?

November 1, 2010

“Bring the work back into the cutting room” is the mantra of Terry Kelley, A.C.E. To save both money and time producing television shows and movies, picture editor Kelley has established a new workflow procedure that has proven successful on two television series—Showtime’s Brotherhood (2006-2008) and the conspiracy thriller Rubicon, which just finished its first season on AMC. […]

Film School Confidential: Does It Really Matter?

September 1, 2010

In the age of YouTube, making movies no longer seems complicated. With an expanding range of visual media and easy access to affordable camcorders and editing software, many can shoot and arrange scenes without a big crew. […]

Still Loving ‘Lucy’

November 1, 2009

From the CineMontage archives, a 2009 interview with the award-winning editor, Dann Cahn, about the beginnings of the I Love Lucy show and the ground-breaking editorial requirements for the three-camera production. […]

Fixing Television, One Show at a Time

November 1, 2009

To hear Stuart Bass, ACE, talk about television editing, one might think he has an insouciant attitude towards his craft. “Editing comedy is a specific talent…it’s just difficult to say what that talent is,” he says glibly. […]

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