The popular Netflix social media competition series was previously being shot and edited in the U.K., but recently came to the U.S. for seasons six and seven (the latter yet to be aired) under an IATSE contract – a huge win for the talented team of editors working on the show. […]
“You can’t just show up with backgrounds that a visual effects studio built, put the actors in front of it, and think you’re going to shoot it.” […]
There was a small group of women who had exceptionally successful editing careers that started almost at the birth of cinema and continued for much of the 20th century. […]
Goldenberg’s C.V. covers a long list of projects, ranging from big-budget actioners like “6 Underground” (2019) and Michael Bay’s “Transformers” films to quieter dramas like “Unbroken” (2014) and “Seabiscuit” (2003). […]
Though we GenXers might look back on our favorite ’80s films with some chagrin, “Parenthood” (1989) holds up. […]
“The episodes really came together in the edit. The two of them made that process really fun from beginning to end by taking risks, trying things, and crafting moments that weren’t necessarily obvious on the page.”
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