The show-business career of Jeff Freeman, A.C.E., began on a terrifying note. At the age of four, he was plucked by his stepfather, director Arthur Napoleon, to appear in a movie co-written by his mother, Jo. Man on the Prowl (1957) may not have made any “best of all- time” lists, but the experience was memorable enough for young Jeff. […]
In his new film Fury, writer-director David Ayer takes a break from depicting violent crime to re-create a different kind of violence — that of warfare, as experienced by a five-man Sherman tank crew of the Second Armored Division near the end of World War II. […]
“I am attracted to real stories about real people with real problems, without layered-on artificial drama or melodrama. This runs through almost everything I’ve done.” – Alex Hall […]
Drone warfare “is not only topical, or even controversial; it’s something that many of us are ambivalent about. […]
When director Quentin Tarantino visualized his newest revenge Western, The Hateful Eight, as a 70mm widescreen production, sold it to distributor The Weinstein Company as such, and eventually upped the vintage widescreen aesthetic further by unearthing vintage lenses at Panavision and filming it in a format that Hollywood had not even attempted to use in almost 50 years — Ultra Panavision 70 — his intent was to make a piece of cinema that was a throwback to the rich, special- event theatrical spectacles of the analog era. […]
Realizing a complex film or TV soundtrack takes a lot of care and attention, together with an advanced degree of collaboration between sound effects editors and re-recording mixers specializing in the same. […]
Music Editor Ramiro Belgardt is no stranger to the Star Wars saga. He got in just in time to work on 2005’s Revenge of the Sith, the last of the prequel trilogy, which was supposed to be the end of the franchise. […]
“Behold Kunta Kinte.” If those words ring a bell, you were around for Roots, one of the most forward-thinking and groundbreaking events in the history of television. […]
Mentoring has always been key to the art and craft of editing. In the days before film schools, it was the only way to learn the techniques and practices of the so-called “invisible art,” […]
When I passed the mark of 100 episodes edited on a single, one-hour show, NCIS, last September, my curiosity got the best of me. I wondered how many others had crossed this mark as well, so I had to do some digging. […]
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