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? […]
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. […]
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. […]
In 1966, there were worse places to grow up than Iowa. My hometown, Marion, was a ten-minute bus ride from Cedar Rapids with its department stores, book and record shops, and three movie houses. […]
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. […]
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. […]
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. […]
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). […]
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. […]
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