The documentary form has been around since the beginning of cinema, and over the past 15 years, pundits have bruited this past decade and a half as “The Golden Age of Documentaries.” No matter the platform — theatrical, television or online — documentary has transformed itself from the margins to the mainstream as a galvanizing and provocative art form. […]
When we fight and win, we do so not because we have statutes or courts on our side, but because we have the extralegal strength that comes from steadfast solidarity among co-workers. […]
The smooth operation of a post facility depends upon the skills of a well-staffed engineering department to ensure that editors and mixers can work efficiently to create a film/TV soundtrack. In order to throw an inquisitive spotlight on the roles played by a number of leading “unsung heroes” from our industry — who work behind the scenes to ensure minimum downtime — CineMontage reached out to Brian Bair from 20th Century Fox Post-Production Services, Steve Boze from Walt Disney Studios, Kevin Collier from Warner Bros. Studio Facilities, Bill Johnston and Charlie Campagna from Formosa Group/Audio Head, and Michael Novitch from Technicolor at Paramount. […]
Drone warfare “is not only topical, or even controversial; it’s something that many of us are ambivalent about. […]
Sometimes a title can be misleading, but in the case of The Authentic Death & Contentious Afterlife of Pat Garrett and Billy the Kid: The Untold Story of Peckinpah’s Last Western — the title, including ampersand — is part and parcel of ACE member Paul Seydor’s exactingly told story. […]
For the first 10 days of their collaboration, composer Jack Nitzsche did not say more than two words to music editor Curt Sobel. […]
In its campaign to organize non-union employers, the Editors Guild has many tools and tactics. In some instances, employees withhold their labor in order to convince non-union employers to agree to union deals. […]
As far back as I can remember, I always wanted to be a Ghostbuster. For a kid growing up in the suburbs of Detroit, enduring frigid, snowy winters, there was a certain level of comfort to be found in the warm glow of Saturday morning television. […]
The Guild membership has expressed alarm at the lack of mentorship opportunities and on-the-job training in post-production today. […]
“I am attracted to real stories about real people with real problems, without layered-on artificial drama or melodrama. This runs through almost everything I’ve done.” – Alex Hall […]
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