
High Crimes: How the Editing Team Resurrected the Drama of Watergate in ‘Gaslit’
How the Editing Team Resurrected Watergate in ‘Gaslit […]
How the Editing Team Resurrected Watergate in ‘Gaslit […]
“This is what is really satisfying about the film: Your guard is let down by the humor, and you don’t expect that you’re going to have as emotional an experience in the end as you do.” […]
“If I can make people watching it nervous and just a little uncomfortable, that could be something really cool.” […]
“Yellowstone” is a show about land: who it once belonged to, who it belongs to now, who it might one day belong to. […]
The show, which made vivid use of contemporary Los Angeles locations and consistently tackled tough topics, premiered in 2016 and wrapped up last fall after five acclaimed seasons. […]
For those who work in post-production, the long hours spent poring over dailies, collaborating with directors and producers, and making scenes just so are rewarded when audiences respond appreciatively. […]
“I hope people can see this and realize this is not a history story, in a way. This is not a story of something that happened 80 years ago that is not happening right now.” […]
How editing taught Lucian Johnston the secrets of ‘Macbeth’ […]
What the ‘Emily in Paris’ editors learned about cutting and comedy […]
How Affonso Gonçalves brought his ‘alive and buoyant’ editing to ‘The Lost Daughter’ […]
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