Remarkably, De Sica doesn’t waste any time on setting the scene or on the family’s backstory in this act. He deems the viewer intelligent enough to take clues from the allegories he provides, and doesn’t take refuge in a voiceover. […]
Even if she was not a lifelong fan of the New York Yankees, music editor Stephanie Lowry would have been proud of having worked on the made-for-television movie ’61*.’ […]
In the early 1960s, when he first met director Karel Reisz, editor John Bloom already knew his way around a cutting room. By then, the London-born editor had risen through the ranks as an assistant editor to cut several films solo. […]
Foley artist Catherine Harper, MPSE, remembers the first time she encountered filmmaker David Lynch. In 1996, she was about to start creating Foley sounds for Lynch’s upcoming film, ‘Lost Highway.’ […]
Colorist Mark Wilkins has a message for audiences: Think twice before believing everything you see on TV. […]
As the technical director of “Hairspray Live!,” Charles Ciup was at the helm of a switcher to alternate between the angles of the show’s 19 cameras, and in charge of cutting to a close-up or a wide shot at just the right moment. […]
I grew up in a small town on the East Coast, maybe 1,000 people, tops. Not too much to do at night, but great for a kid; we pretty much had the run of the town. […]
What we do doesn’t achieve the kudos that our drama or cinema brothers and sisters do, but our work is still seen by millions of people all over the world and its technique is definitely worthy of more study. […]
I went to the movies that night in order to take my mind off the second anniversary of my mother’s death. I was in a lot of pain over her passing and, contrary to all the platitudes I had heard, time was not healing this wound. […]
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