I do hope that by the time you read this, production has restarted as we hoped it would earlier this year. Still, there is a lot of concern about what the volume of work will look like this year and into the future. Business models are changing and talk of mergers continues. […]
Working with film took Lame back to the dawn of her career. Lame noted that most editors her age and younger have worked only in the digital world, so the film workflow may not be familiar to them. “My first job was working on a film movie, ‘Before the Devil Knows You’re Dead.’ That was shot on film, the dailies were screened on film – everything. I feel lucky to have had that early opportunity to work with film.” […]
“In making a film, it is key to have a first-rate cinematographer and a first-rate editor,” Allen said. […]
WHERE ARE YOU CURRENTLY EMPLOYED? Universal Studios. CURRENT PROJECTS? I recently finished Paramount’s “Transformers: Rise of the Beasts,” and […]
“So much of the tone of the show is set in the edit bay, and we are super-fortunate to have a group of editors that work in collaboration.” […]
For director Robert Zemeckis, Schmidt was the editor of, among other classic films, the “Back to the Future” trilogy (1985, 1989, 1990), “Forrest Gump” (1994), and “Contact” (1997). He won two Oscars during his multi-decade partnership with Zemeckis: for “Who Framed Roger Rabbit?” (1988) and for “Forrest Gump.” […]
“It’s a team effort, and together we bring stories to life, creating a memorable auditory experience for the audience.” […]
“It’s a show that requires many elements, from graphics to sound design, and since the schedule is a bit tight from the recording moment to air day, the editors of the main show are divided between even and odd episodes. But as the weeks go by, we become one team.” […]
By Matt McFarland When I was g rowing up in Omaha, Nebraska, during the ’70s and ’80s, movies were […]
It’s an all-time personal favorite. It was also the last movie I watched with my mom. […]
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