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?”
“Some of my directors definitely say that sitting with me in the editing room is a therapy session… I recommend to editors to go to a therapy session, because I think they would learn a lot about what it’s like to really listen and be able to draw out what a director is thinking and feeling.” – Stephen Mirrione […]
Because of the bifurcated way in which most films and television shows are made, with production and post-production each functioning more or less independently, they seldom have occasion to work together on a one-on-one basis. That does not mean, however, that they do not collaborate. […]
CineMontage spoke with Michael Tronick, A.C.E. as he was finishing work on ‘2 Guns’. […]
It was the news that the American Cinema Editors (ACE) had selected him for a Career Achievement Award that prompted Richard Marks to revisit his life’s work. […]
For as long as he has been a director, Gus Van Sant has also been an editor. While most of his subsequent efforts have been cut by such distinguished editors as Curtiss Clayton, Pietro Scalia, ACE, and Elliot Graham, ACE, Van Sant continues to drift in and out of his cutting rooms. […]
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