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. […]
With Movers and Shakers: The Monster Makers, long-time editor Tariq Anwar somehow manages to take time away from the bench to write an amusing book about his 30-year career in the film and television industries. The tone is sardonic, the writing straightforward, the many line drawings humorous. […]
You might say that Tommy Vicari, CAS, is the beneficiary of good timing. A few years after director Sam Mendes and composer Thomas Newman were the toast of the film world for the Academy Award-winning American Beauty (1999), Vicari was asked to serve as scoring mixer on their follow-up film, Road to Perdition (2002). […]
I grew up in Santa Clarita during the 1970s. In my early teens, I’d go to work with my dad, Leonard Kroll, who, at the time, was the head of post-production at 20th Century-Fox. […]
I grew up at the movies. I lived in a neighborhood where most of the children were younger than I was, and therefore I had few friends my own age. I spent my time reading and going to the movies. These pursuits were my companions. […]
Virtually every working editor understands that the job is defined as labor as well as creation, craft and, sometimes, art. The Motion Picture Editors Guild ensures that this labor is recognized with credits, respected within the industry and compensated fairly, and ensures that members are not abused by employers nor left destitute in old age. […]
Prisons are not visually attractive. That may be why prison movies were not a significant genre during the silent era. But after the introduction of talking pictures and as sound technology was refined, the 1930s saw the studios turn out over 60 movies set in penitentiaries. […]
While working at 20th Century Fox in the early 1990s, story analyst Christine Culler was assigned a steady diet of romantic comedies and children’s books. Then, in 1995, a different sort of project came across her desk: ‘Minority Report,’ a futuristic suspense film, heavy on action and low on meet-cutes. […]
This compact and clearly written volume considers virtually every type of archival source likely to be used in media production, and offers practical approaches to finding, selecting and licensing it. […]
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