Letters to the Editor
LETTERS TO THE EDITOR: ‘Hud’ Sucker
Letters from our readers concerning our article on ‘Hud’ as well as issues regarding documentary editing awards.
Year: 2013
Features
Mixing the Zombie Apocalypse: Anna Behlmer and Lora Hirschberg
CineMontage caught up with the two sound mixers as they were finishing work on ‘World War Z’ at Twickenham Studios in London.
Tail Pop
Joe Camp’s ‘Benji’
They say that dogs are man’s best friends. The problem is that I didn’t have a dog when I grew up in the small town of Edinburg, Texas.
Features
Harmonic Convergence: Music Editors Collaborate with Composers and Music Supervisors
CineMontage explores two contrasting teams of music editors and the differing ways they worked together with their composers and music supervisors.
Features
Is Your Room in Tune?
Sound editors and mixers need to be confident that their room acoustics are not skewing their judgment.
Features
The Essence of Editing: Should We Be Shouldering the Weight of Post-Production?
In 1970, as an apprentice in the cutting room of Richard Marden, editor of Sunday Bloody Sunday, we were a happy bunch; Dick, two assistants and myself. Now, as a motion picture editor, I’m mostly by myself, only sharing occasional intense sessions with the director and/or producer.
OP / EDIT
Get Tested! In Defense of Pre-Release Screenings
We need to improve our movies, and the only people who can point us in the right direction are those who offer us their unrestrained opinions, painful as they may be.
Tail Pop
Robert Redford’s ‘Ordinary People’
It was March 31, 1981. I was celebrating my second anniversary of becoming a union story analyst by watching the 53rd Academy Awards. The host was Johnny Carson and the field of films was perhaps the strongest it had been in decades.
Features
Post ‘Hangover’: Debra Neil-Fisher and Jeff Groth’s Editorial Hair of the Dog
CineMontage interviewed the two editors as they were finishing work on ‘The Hangover Part III.’
Features
You Ain’t Heard Nuthin’ Yet… Prepare for Sonic Immersion
With movie-going audiences expecting fully immersive visuals from 3D presentations, the sound post-production community is fast playing catch-up with immersive surround-sound systems.
