Year: 2010

This movie is a playground for sound,” says Randy Thom, CAS, referring to director M. Night Shyamalan’s latest film, The […]

The Look of ‘Michael Clayton’

John Gilroy, A.C.E., had to make sure the audience stayed inside the characters, while creating a subtle build-up of tension throughout.

Gilroy was Here: The Editor Leaves His Mark on Michael Clayton

“Some directors will allow you to edit practically the whole film before they look at your cut, but I really hate to work that way. I think an interactive relationship with a director from the beginning is key.” – John Gilroy

THIS MONTH IN FILM HISTORY:
The Empire Strikes Back

Because of the film’s enormous reception in the United States, the reviled Japanese former empire became a world player in cinema.

Imagebender Conrad Buff: The Editor as Manipulator

While overseeing the mix of The Last Airbender at Skywalker Sound in San Rafael, California, Buff found the time to speak to CineMontage about his current project, discussing some of the challenges on the film, his experience working with Shyamalan, and his philosophy of picture editing.

Vittorio de Sica’s Ladri di Biciclette (the Bicycle Thief-1948)

Remarkably, De Sica doesn’t waste any time on setting the scene or on the family’s backstory in this act. He deems the viewer intelligent enough to take clues from the allegories he provides, and doesn’t take refuge in a voiceover.

Amman, with a Movie Camera: an Editing Workshop for Jordanian Film Students

The lights went up. The audience of eager editing students didn’t seem to know whether to weep or applaud. So they did both.

Hal Ashby, Bound for Glory

‘Being Hal Ashby’ examines the director’s tormented personal life and childhood, and traces the troubled personal skein into an exemplary body of work in motion pictures

Tax Credit Where It’s Due

New York Governor David A. Patterson’s proposal would allow filmmakers to be eligible for a 30 percent tax credit on qualified expenditures.

Seven Samurai: Oscar’s Choice Cuts

“Let me just start out by saying that I have everything before Avatar, and then Avatar––because there was nothing normal about how we did this film”- Stephen Rivkin