Editors Guild members sometimes need to exercise their storytelling talents and share their insights on their craft in the print medium in addition to the audio- visual. This year to date, four books have been published by members of the Guild about their work. […]
Hollywood’s business is the merchandising and recycling of myth — especially the myth of the tragic Hollywood star (Judy Garland, Marilyn Monroe, Elvis Presley, etc.) in biopic or documentary form. […]
Movies — or films, as I would call them when I was growing up in the United Kingdom — have always been a huge part of my life. […]
Although it is often considered something of a specialist art form, an appreciation of the intricacies of Foley walking can be extremely useful for any post professional working in film and TV. […]
‘Post Proud’ is the story of bold brothers and sisters whose pride in their craft, pride in themselves, and commitment to one another empowered them to make dramatic change in their working lives. […]
How do we tackle the biggest underlying issue — the lack of feeling empowered to stand up for oneself? […]
CineMontage interviewed the pair in late May about the new film and working with Abel Ferrara. […]
Many of the editors I met asked me why I didn’t want to become a director like my dad. To me, editing was far more interesting than directing — and you didn’t need a small army of people to do it.
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His most memorable film? Don’t ask that of Paul Hirsch, ACE. The Academy Award-winning editor does not believe in the concept, and a quick perusal of the more than 40 films to his credit suggests the futility of that exercise: Is it Carrie (1976) or Star Wars (1977)? The Empire Strikes Back (1980) or Ferris Bueller’s Day Off (1986) — or something else? […]
Analysts — always the first to see material submitted to a studio or network — spend their working lives trolling for their company’s next big hit.
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