Maryann Brandon, ACE, and Mary Jo Markey, ACE, spoke about their collaboration with director J.J. Abrams, and how he has incredible trust in his editors, giving them the time and space to shape the film in the cutting room. […]
What we do doesn’t achieve the kudos that our drama or cinema brothers and sisters do, but our work is still seen by millions of people all over the world and its technique is definitely worthy of more study. […]
This year, as part of its annual selection of fully restored classics, the 72nd International Venice Film Festival presented, along with Federico Fellini’s Amarcord (1973), Akira Kurosawa’s Red Beard (1965) and Sergei Eisenstein’ Alexander Nevsky (1938), among others, Charles Burnett’s To Sleep with Anger (1990) — the most recently made of all the dramatic features chosen. […]
Have you seen Laurel and Hardy do exactly the same skit in both a silent and a sound version? Was it actually the quality of John Gilbert’s voice that doomed his career in the talkies? What beloved classic movie used Fantasound? Why did editors resist changing from optical to magnetic sound? […]
Music Editor Ramiro Belgardt is no stranger to the Star Wars saga. He got in just in time to work on 2005’s Revenge of the Sith, the last of the prequel trilogy, which was supposed to be the end of the franchise. […]
In a career spanning nearly 45 years, supervising sound editor Anthony J. “Chic” Ciccolini III has worn many hats. […]
Among the challenges of creating The Hateful Eight in “glorious 70mm,” as filmmaker Quentin Tarantino described it in his original screenplay, was the fact that it required an overall post workflow that was highly irregular in many respects — both a throwback to an earlier era and extremely complex at the same time. […]
The Guild is a democratic organization. Members need to vote, participate in online and in-person discussions about matters of importance and play a role in steering the union. […]
Be kind and respectful to everyone with whom you work — from the production assistant all the way to the executive producer — because your PA might become your EP before too long. And with every cut, everyone, including me, becomes a better editor. […]
The first time I heard my assistant editor referred to as an “AE,” the hairs on my back went up! I felt it was disrespectful and unbecoming — but why? After all, we call production assistants PAs without offense, so why not call assistant editors AEs? Well, for starters, PAs fetch coffee and deliver scripts, whereas assistant editors perform highly skilled creative and technical work in an artistic craft. […]
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