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.
The emergency lights flickered on and off. I found myself 30 feet in the air hanging onto the edge of a railing. […]
It’s not that ‘Grammar of the Edit’ is wrong. It is just incomplete. […]
Connotations to the contrary notwithstanding, “flipping” ain’t easy. […]
It is hard to believe now, but in the early 1960s, the young, long-haired Liverpudlian lads John Lennon, Paul McCartney, George Harrison and Ringo Starr (known collectively as the Beatles) were considered to be an insidious force, challenging British as well as American stereotypes of youthful masculinity, just as their distinctive, infectious “beat music” threatened to take over the pop charts of both countries. […]
his summer, the debut of his latest film emphasizes the music-appreciation side of Eastwood as never before. […]
Almost 25 years after its premiere, GoodFellas (1990) is still a shocking movie about organized crime. […]
For over two decades, the American Cinema Editors (ACE) has sponsored the ACE Internship Program to help bring motivated individuals into the editing profession. […]
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