How the Post Team of ‘Ferrari’ Worked Together to Bring an Auto Epic to Life
“One of the things we had to adapt very early on is the communication in the form of notes from Michael.” […]
“One of the things we had to adapt very early on is the communication in the form of notes from Michael.” […]
“Over the years, I noticed that many aspiring and novice filmmakers, as well as composers, music editors, and music supervisors recognize the need for music but struggle with figuring out where and how to use music in their productions.” […]
AUGUST 15, 1922 — JANUARY 2, 2024 A renaissance man. A gentleman. A portrait in dignity. This is how Academy […]
“I’ve watched the ‘Star Wars’ films in the past and recognize the famous characters, but didn’t know much beyond that. So coming into this big galaxy was both exciting and new to me.” […]
“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?’” […]
The late filmmaker William Friedkin was fond of describing his 1973 horror masterpiece “The Exorcist” as being a meditation on “the mystery of faith.” […]
By Kristin Marguerite Doidge Emmy Award-winning picture editor Stephanie Filo, ACE, has found herself at the center of several […]
There is momentum now for us to achieve some tangible changes for our members and we must come in willing to fight and hold our ground. […]
“I knew the film we were going to make would have to depart from the 1985 movie in terms of tone – and that we’d have to find our own visual language that would carry on sonically,” Bazawule said. “As we navigated the trauma and abuse in the story, we knew the fantastical elements had to come from reality.” […]
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