For as long as he has been a director, Gus Van Sant has also been an editor. While most of his subsequent efforts have been cut by such distinguished editors as Curtiss Clayton, Pietro Scalia, ACE, and Elliot Graham, ACE, Van Sant continues to drift in and out of his cutting rooms. […]
Letters from our readers regarding ‘black hawk down’ and the history of post-production sound. […]
Our membership needs to self-empower: to lock arms and say NO in the workplace when something is wrong. […]
A pool of individuals of extraordinary talents that had generated great wealth for their employers had come to feel indebted and indentured to the very organizations for which they amassed extravagant profits. […]
The idea for Not Fade Away had been in David Chase’s mind for a long time, though it took the buzz following the end of The Sopranos for him to be able to make it his debut as a feature filmmaker. […]
“There it was, ticking after 150 years, and we recorded it. We were able to use that during the few, brief moments where Lincoln was actually handling his watch.” – Ben Burtt […]
Ben Affleck has a “particularly clear mind” when it comes to the editing process and understanding his editor’s needs while he is shooting, according to William Goldenberg. […]
Mae West has become a folklore icon as well as a movie star. Anecdotes abound about her on- and off-screen behavior, and her quips fill an entire page in most books of famous quotations. But she has never really been accepted as a serious cultural figure. […]
My love for Chinatown has only deepened as my affection for LA has grown more complicated. […]
The editorial opportunities have obviously changed as the series has evolved. According to Goldman, one of the goals for the pilot was to cut every scene so that it could be interpreted that Brody was either a terrorist or was just messed up from Post-Traumatic Stress Disorder. […]
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