Curt Sobel on ‘An Officer and a Gentleman’
For the first 10 days of their collaboration, composer Jack Nitzsche did not say more than two words to music editor Curt Sobel. […]
For the first 10 days of their collaboration, composer Jack Nitzsche did not say more than two words to music editor Curt Sobel. […]
The film touched Carol’s heart because its characters and events were recognizable to her family. […]
Few people are privy to the secrets of filmmaker Christopher Nolan’s new science-fiction adventure Interstellar — and those who are aren’t talking. One person who knows Interstellar more intimately than most is editor Lee Smith, ACE, […]
His most memorable film? Don’t ask that of Paul Hirsch, ACE. The Academy Award-winning editor does not believe in the concept, and a quick perusal of the more than 40 films to his credit suggests the futility of that exercise: Is it Carrie (1976) or Star Wars (1977)? The Empire Strikes Back (1980) or Ferris Bueller’s Day Off (1986) — or something else? […]
his summer, the debut of his latest film emphasizes the music-appreciation side of Eastwood as never before. […]
The show-business career of Jeff Freeman, A.C.E., began on a terrifying note. At the age of four, he was plucked by his stepfather, director Arthur Napoleon, to appear in a movie co-written by his mother, Jo. Man on the Prowl (1957) may not have made any “best of all- time” lists, but the experience was memorable enough for young Jeff. […]
Scattered throughout the films of Cameron Crowe are moments in which the director’s adolescent rock wordsmith background shine through. […]
When Tatiana S. Riegel, A.C.E., set her mind to become a film editor, she went about it with the methodical planning to be expected from the daughter of an astronomy professor. […]
The canvas of The Right Stuff (1983) is rightly thought of as large — Herculean, even. In recounting the history of America’s valiant test pilots and astronauts, writer-director Philip Kaufman’s adaptation of Tom Wolfe’s acclaimed book is peopled by an enormous cast, and it traverses the earth, sea and outer space. […]
Fifteen years ago, if you told Jen Monnar that she would one day work as a music editor on films directed by the likes of Marc Webb, Neil LaBute, and Joel and Ethan Coen, she would not have believed you. In fact, she would have very likely asked, “What’s a music editor?”
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