In his new film Fury, writer-director David Ayer takes a break from depicting violent crime to re-create a different kind of violence — that of warfare, as experienced by a five-man Sherman tank crew of the Second Armored Division near the end of World War II. […]
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The editor described the first part of the picture as “quite humorous at times,” which would have helped audiences accept the tragedy of the second half. […]
As a member of both the Editors Guild and the American Cinema Editors, I look back on my 50-plus years in the greatest industry on the planet, feeling blessed that I was able to earn a good living in jobs that I loved. […]
In our family, movies were special events because most of our entertainment came from television. So I don’t remember seeing a lot of films, but there is one that holds a very special place in my heart. […]
Almost everyone in the business has heard the statistics: Only 10 percent of films made between 1910 and 1920 still exist; 20 percent of the films made in the 1920s survive […]
These days, it takes a team of talented post-production professionals to prepare soundtracks for motion pictures and network/cable TV programs. […]
Tom Rolf was a real professional, a man who knew his craft inside and out. He was all business in the cutting room. I remember that he would come in at 9:00 a.m., sit down, get right to work, and leave at 6:00 p.m. […]
In 1960, after college, the army, UCLA film school, paying my dues as a can-carrying apprentice and assisting (mostly on commercials, but also some documentaries and industrials), I received a call from the editor Peggy Lawson, who said, “Sidney needs an assistant; I’m recommending you.” […]
When sound designer/supervising sound editor Dane A. Davis, MPSE, attended the audience preview for The Matrix (1999), he — as well as directors Andy and Lana Wachowski (then known as the Wachowski Brothers) — had no idea what to expect. […]
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