Happy 50th anniversary, James Bond; it’s time for your existential crisis. That’s what the 23rd Bond film, Skyfall, which opens November 9 through Columbia Pictures, is all about: 007 taking a fall (he’s accidentally shot in the pre-credit sequence and presumed dead) and enduring his deadliest mission yet. […]
A project so reliant on the most updated, state-of-the-art filmmaking technology that it would have been inconceivable — let alone impossible to realize — even just few years ago, ‘Life of Pi’ presented director Ang Lee and his editor, Tim Squyres, A.C.E., with many challenges in post-production to get this film made. Squyres discussed them with CineMontage. […]
The idea for Not Fade Away had been in David Chase’s mind for a long time, though it took the buzz following the end of The Sopranos for him to be able to make it his debut as a feature filmmaker. […]
On Saturday evening, January 12, the Los Angeles Film Critics Association (LAFCA) presented its 38th Annual Awards at a gala dinner at the Intercontinental Hotel in Century City. Post-production personnel attending the celebration had a special reason to celebrate this event as LAFCA premiered its award for the year’s Best Editing. […]
Lawrence Silk, A.C.E., links his interest in documentaries to an early social consciousness, derived in part from his parents. As a teenager, Silk’s father had guided Eugene Debs through factories near Pittsburgh and, when they moved from Detroit to New York’s Washington Heights, Silk was well aware of the plight of the German Jewish refugees from the war, who were his classmates. […]
The job of the animation editor is often a misunderstood one. “Animation editors are still an enigma throughout the industry and even within the ranks of fellow editors,” claims Darren T. Holmes, ACE (How to Train Your Dragon, 2010; Ratatouille, 2007). “I take every opportunity to inform and enlighten anyone who will listen.” […]
Of the many crafts essential to making movies, only editing came into existence because of the medium itself. […]
It was the film serials, from the early days of cinema, that were the true forerunners of contemporary franchise pictures and tent-pole releases. […]
In 1970, as an apprentice in the cutting room of Richard Marden, editor of Sunday Bloody Sunday, we were a happy bunch; Dick, two assistants and myself. Now, as a motion picture editor, I’m mostly by myself, only sharing occasional intense sessions with the director and/or producer. […]
CineMontage explores two contrasting teams of music editors and the differing ways they worked together with their composers and music supervisors. […]
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