I am a war baby who grew up in Texas before leaving for a larger world that included living in Manhattan for 22 years and moving to Los Angeles to work as a story analyst. So, if what I have to say now reads old to anyone, well good — because old has a way of becoming new again, especially when old is as unforgettable as My Darling Clementine. […]
Screenwriters aren’t the only ones benefitting from the richness of material now playing on cable television, or streaming from Netflix. The complexity of subject matter and shooting styles, previously the domain of theatrical film, are allowing series editors to stretch their legs as well. […]
The producers see the character of Dexter as having different, sonically distinct modes of operation; that drives their creative decisions. […]
Terrence Malick’s Days of Heaven (1978) was, and remains, a riveting film. […]
More and more, employers in this sector of the industry are coming to the table of their own accord, before being pushed there by their employees.
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Because of the bifurcated way in which most films and television shows are made, with production and post-production each functioning more or less independently, they seldom have occasion to work together on a one-on-one basis. That does not mean, however, that they do not collaborate. […]
If you are working a union job and have Labor Day off, you should recognize that you owe your leisure to a long tradition of solidarity. […]
Helming a re-recording crew during the preparation of an intricate motion picture soundtrack takes a unique combination of technical capabilities, people skills and an appreciation of sound and imagery. For many who know him, Donald O. Mitchell exemplifies all of these qualities and more. […]
I was fortunate to fall into picture editing. […]
The American Experience had a unique style and zeitgeist. The stories were never pat interpretations of historical figures and events, nor did they shy away from the chronicles of lost causes, defeats, rough compromises and violence. […]
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