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Affonso Gonçalves Talks Editing Todd Haynes’ Drama ‘May December’
“I can’t pick sides. That’s the great thing about being an editor.” […]
“I can’t pick sides. That’s the great thing about being an editor.” […]
“The whole goal was: ‘How do we keep Lenny’s heartbeat and human nature alive through the whole thing?’” […]
The late filmmaker William Friedkin was fond of describing his 1973 horror masterpiece “The Exorcist” as being a meditation on “the mystery of faith.” […]
For director Robert Zemeckis, Schmidt was the editor of, among other classic films, the “Back to the Future” trilogy (1985, 1989, 1990), “Forrest Gump” (1994), and “Contact” (1997). He won two Oscars during his multi-decade partnership with Zemeckis: for “Who Framed Roger Rabbit?” (1988) and for “Forrest Gump.” […]
“This is one of those things where you read it and it just works in a number of ways.” […]
“Here was this grand opportunity to work with a majority female crew in terms of the top positions: majority female directors, a female showrunner, and majority women in post.” […]
“He didn’t like cuts being in predictable places. In other words, one of the things that you often strive for in editing is to make the editing disappear: somebody finishes the line and the next person speaks, and you cut to it right away. Billy was always most interested in making unpredictable cuts that, in his mind, were better.” […]
“I started to recognize that this was a portrait of Korean Americans and Asian Americans in general that we hadn’t seen before.” […]
“History is seductive for me.” […]
“We both came to this with a lot of fear and anxiety about how to accomplish all of this technical wizardry.” […]
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