‘Beetlejuice Beetlejuice’: Jay Prychidny on Editing in Tim Burton’s World
‘That was a huge lesson for me—realizing that audiences really don’t need everything spelled out.’ […]
‘That was a huge lesson for me—realizing that audiences really don’t need everything spelled out.’ […]
The biggest lesson is to listen. Really listen to what people are saying—whether it’s the director, the producer, or even the audience. You have to be open-minded about your work and not get defensive. […]
By Rob Feld For Jamie Kirkpatrick, ACE, the path to editing began in the Midwest, where, as an only […]
By Rob Feld Amelia Allwarden’s journey into film editing began with a childhood fascination with storytelling. “Ever since I […]
“It is a performance-driven film so there’s nothing to hide behind.” […]
“In making a film, it is key to have a first-rate cinematographer and a first-rate editor,” Allen said. […]
“I was blown away by the ambition of it all, but the producers were very vague about what the final product would be.” […]
“Peter Berg was open-minded when we started the project and wanted to see what we wanted to bring to it. He had this ongoing mantra to be fearless.” […]
“It’s a show that requires many elements, from graphics to sound design, and since the schedule is a bit tight from the recording moment to air day, the editors of the main show are divided between even and odd episodes. But as the weeks go by, we become one team.” […]
“It’s a story of a stepmom and a stepdaughter bonding. They’re totally unbonded at the beginning and they need to be a family by the end. That’s what I connected to.” […]
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