November, 2007 -

Robert Redford’s Golden Ears: The Sound Editors of ‘Lions for Lambs’

November 1, 2007

Richard Hymns is busy working on the film with assistant supervising sound editor Andre Fenley and sound designer Frank Eulner at Skywalker Sound in Marin County, California

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David Bilow Assists in Retooling Storylines

November 1, 2007

by Robin Rowe One of the biggest challenges for assistant editor David Bilow––Joe Hutshing’s right-hand man––in the post-production work on Lions […]

The Hutshing Hustle: Self-Taught Editor for Hire

November 1, 2007

Hutshing’s career has certainly come a long way from the time he arrived in Los Angeles after college in 1981 and hustled for work by advertising himself as an “editor for hire” on the bulletin boards at UCLA.

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UNION MADE: Winding Up in Sound… by Design

November 1, 2007

I joined the Motion Picture Sound Editors’ Board of Directors, eventually becoming the first woman president in 1984, and also served on the Executive Committee of the Sound Branch of the Academy of Motion Picture Arts and Sciences.

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This Quarter in Film History: Body and Soul

November 1, 2007

Body and Soul has remained one of the least dated, most influential films since its release 60 years ago.

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Ingmar Bergman’s: ‘PERSONA’ (1966)

November 1, 2007

Persona is Bergman’s meditation on identity, the nature of art, loneliness and the inability of man to ever truly communicate with another.

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Mixing with Vision: Technical Directors Call the Shots

November 1, 2007

While Technical Directors are still looked to for crew leadership and a smooth-running show, changes are coming furiously.

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Soundtrack Diplomacy: Music Editor Joseph DeBeasi’s Role as Interpreter

November 1, 2007

Joseph DeBeasi has worked as a music editor and composer. Throughout his career, he has developed a keen sense of his job, as it has developed over time, as technician, creative, diplomat and interpreter.

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No Second Guesser: Terry George Likes to Leave Editors Alone

November 1, 2007

Terry George certainly knows his way around an intense drama. His tales require perfect pitch and rhythm. To maintain that balance, George repeatedly turns to editor Naomi Geraghty.

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