To hear Stuart Bass, ACE, talk about television editing, one might think he has an insouciant attitude towards his craft. “Editing comedy is a specific talent…it’s just difficult to say what that talent is,” he says glibly. […]
‘Taking Woodstock’ is a movie of source music—and not just the kind that comes from a radio playing on a tabletop. Designed to blend seamlessly with the needle-drop tunes, a lot of that was provided by the “live” hippies. […]
The expansion of digital filmmaking into HD and beyond has seen film become an anachronism, rather than a competitor or adjunct to digital. Many of the traditional assistant’s duties are being re-shaped or re-tasked. […]
CineMontage has turned to the Guild’s erudite, critical and scholarly branch––the story analysts––and asked them to venture deep inside their inner film geeks, to forget that their professional reputations could be at stake and to admit to the world––or at least to their fellow Guild members––what their favorite guilty pleasure movies are. […]
What truly makes Untold Stories a memorable event, however, are appearances from five artists––Paul Butterfield, Creedence Clearwater Revival, the Grateful Dead, Mountain and Johnny Winter––whose performances have never appeared in any of the previous film versions. […]
The universe of the USS Enterprise was alive with sound, Much of that was due to the singular vision of writer/producer Gene Roddenberry, along with the inventiveness of Douglas H. Grindstaff, who served as the show’s supervising sound effects editor for the entire 80-episode run. […]
The crack of Indiana Jones’ whip, the roar of an Imperial TIE fighter, the hum and crackle of clashing lightsabers, the voice of Wall-E speaking through his circuitry… all can be traced to the same source: sound designer extraordinaire Ben Burtt. […]
Michael Pedraza is a man with a plan. While attending film school in Arizona, he decided that he would work with one of his two favorite editors—Michael Kahn, A.C.E., or Dylan Tichenor, A.C.E. Happily, he had an “in” in that his editing teacher’s claim to fame was that he had worked in Kahn’s editing room on Saving Private Ryan. […]
CineMontage sat down with the two collaborators at Cox’s cutting room at Malpaso on the Warner lot as they were finishing post-production on Gran Torino.
“A movie is like a clay statue and editorial is the final part of that molding.” – Clint Eastwood […]
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