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Pandemic Talent: How WME Agents Try to Keep Editors Working During Covid-19
“When the shutdown happened, we called all of our clients and talked to them and said: ‘We’re in uncharted territory.'” […]
“When the shutdown happened, we called all of our clients and talked to them and said: ‘We’re in uncharted territory.'” […]
“Your brain is trying to keep up and fill in the blanks, and you realize this thing is going faster than you can keep control of in your head.” […]
Music Editor Sally Boldt recalls the making of ‘Groundhog Day,’ again and again and… […]
“I really rely on my editors to have a story brain and to be co-writers with me.” […]
“It all depended on how Kate Corbaley narrated the story.” […]
For the last century, the Musso & Frank Grill has been the preferred dining and drinking destination for innumerable movie stars, literary legends and other notables. Even sports heroes have been known to walk through its doors. […]
“My first thought was, ‘Oh God, this is perfect material for Francis — he’s going to do a fantastic job with this,” remembers editor Anne Goursaud, ACE, regarding Bram Stoker’s 1897 horror novel Dracula. […]
When colorist Mary Lee Parisi sits down with a show for the first time, she often focuses on the picture alone. “When you first get the tape, you kind of shuttle through to get an idea of what it’s about,” she says. […]
Like most Foley artists, Gregg Barbanell, MPSE, aims for his work to go undetected by audiences. After all, footsteps should sound like they are emanating from the shoes of the actor who appears on screen, not the Foley artist behind-the-scenes, right? […]
From early in her career in the film business, Jeannette Browning recognized that she was something of a rarity. “I was really interested in dubbing, but I realized that there were no female dubbing mixers,” she says. […]
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