Book Reviews
Discovering the Story of the Scene
The central issue in ‘The Lean Forward Moment’ is emotional engagement in the narrative.
Month: September 2009
Features
A Matter of Frequency: An Essay on Editing Aesthetics
When do we make an edit? Where do we make an edit? I find the answer is increasingly: “Edit often.”
Features
Sally Forth Menke’s ‘Glourious’ Editing
for Quentin Tarantino
Sharp dialogue. Splintered chronology. Bursts of extreme violence. Must be Quentin Tarantino. Sally Menke, A.C.E. has been there every step of the way… providing the brilliantly bold cutting for all of the director’s films.
Getting Organized
Conventional Lessons
each of these groups was struggling with a profound but similar problem––the way technology was changing the jobs of their membership. The solution for many of them was the same: Organize.
Tail Pop
Stanley Donen’s Two For the Road (1967)
It’s a journey of marriage, with all its highs and lows and in-betweens.
Uncategorized
UNION MADE: When Technology Comes Naturally
I have had some great mentors during my career, and would love to give back. With a little luck, I will have the opportunity to edit full time and, maybe one day, I will have an assistant look back at my help and thank me.
OP / EDIT
Filmmaking’s First Responders
Editors and story analysts both use their considerable skills and training to hone and finesse a film’s story.
This Quarter in Film History
THIS MONTH IN FILM HISTORY:
Miloš’ Mozartifacts
Miloš Forman has focused on one theme: How society grinds down the individual and is basically corrupt and hypocritical.
Features
The Pursuit of Hippie-ness:
Editing the Music for ‘Taking Woodstock’
‘Taking Woodstock’ is a movie of source music—and not just the kind that comes from a radio playing on a tabletop. Designed to blend seamlessly with the needle-drop tunes, a lot of that was provided by the “live” hippies.
Features
‘Basterd’ Sounds:
Wylie Stateman and Harry Cohen
From hyper-real audio effects to vintage-sounding equipment, the sound in a Quentin Tarantino film is always distinctive. it has been the handiwork of supervising sound editor Wylie Stateman and sound designer Harry Cohen, MPSE.
