“When Ridley comes to the cutting room he wants to be surprised and relieved and enjoy the experience of viewing the film with fresh eyes.” […]
“There’s been a lot of hype about AI, but it is moving faster than anyone had guessed.” […]
“We are definitely not back to the pre-strike era, and I don’t think we will ever get back to that point.” […]
“I did not come to Los Angeles to pursue editing; I initially wanted to be a comedy writer.” […]
By Rob Feld David Jancsó’s path to becoming a film editor seems both inevitable and serendipitous. Born and raised […]
“When I read the script, I loved it—it was a thriller with something to say, offering a peek behind the curtain of this fascinating institution. I was immediately drawn in.” […]
“We did get a studio note saying that maybe, to avoid any confusion, we should put a location and date stamp when we go to each scene. I didn’t like this idea and fought against it.” […]
“One of the things we had to adapt very early on is the communication in the form of notes from Michael.” […]
“The Holdovers,” set over Christmas vacation in 1970 at a New England boarding school for boys, is the bittersweet portrait of complicated relationships among a grumpy teacher with a troubled past (Paul Giamatti), his callow student (Dominic Sessa) and a long-suffering dining-hall cook (Da’Vine Joy Randolph). Tent talked about editing for tone, tempo and rhythm, as well as his efforts on behalf of picture editors as the president of ACE. […]
“The whole goal was: ‘How do we keep Lenny’s heartbeat and human nature alive through the whole thing?’” […]
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