Michael Pedraza is a man with a plan. While attending film school in Arizona, he decided that he would work with one of his two favorite editors—Michael Kahn, A.C.E., or Dylan Tichenor, A.C.E. Happily, he had an “in” in that his editing teacher’s claim to fame was that he had worked in Kahn’s editing room on Saving Private Ryan. […]
It wasn’t so long ago, it seems, that editors spent most of their time in editing rooms simply editing. Many of us remember the days when we spliced pieces of film together, drew dissolve marks on the celluloid with grease pencil and projected our work picture with only a single audio track for directors, producers and studio executives. […]
I was quite late to the game in discovering my love of cinema. I grew up on a steady diet of Tom and Jerry, old sci-fi shows and MTV videos. […]
Documentarian Robert J. Flaherty was regarded by the poet e.e. cummings as “a god among men,” an opinion echoed by Orson Welles, who compared Flaherty to the poets Walt Whitman and Henry David Thoreau. […]
‘The Invisible Cut: How Editors Make Movie Magic’ will stand as a deft introduction to the “invisible art” of editing and would prove highly useful as a textbook. […]
By the time I was 25, I was a store manager working long hours with little respect and a low level of creativity. I needed a change. […]
DreamWorks Animation’s Monsters vs. Aliens may seem like your average CGI-animated blockbuster. But it’s more than that; it’s the first animated feature from DreamWorks that’s been planned, start to finish, as a stereo 3-D film. […]
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