Features
Bond Memories
CineMontage talked to four editors of Bond past: John Glen, Terry Rawlings, A.C.E, Michel Arcand and Christian Wagner. […]
Features
Features
Boning Up on Editing: A Tale of Three Assistants Who Got the Bump
Although these occurrences are far from commonplace, they are testament to the talent of these assistants-turned-editors. […]
Features
The Fisher Kings: Story Analysts Are on an Expedition for the Big Catch
Analysts — always the first to see material submitted to a studio or network — spend their working lives trolling for their company’s next big hit.
Features
Mo Henry: The Last of the Negative Cutters?
“I thought this would end fast, and I’m shocked that I’m still doing it.” – Mo Henry […]
Features
Everything’s Coming Up ACES: New Color Standard’s Impact on Editors and Colorists
Now, after years of field-testing pre-release versions of ACES on selected projects, ACES version 1.0 is finally available as, according to the Academy […]
Features
Editors of ‘S.H.I.E.L.D.’: Surmounting Formidable Challenges Weekly
Just as the show itself tells the story of an organized team of spies, agents and heroes on a mission to protect the world, the editorial mission requires a similarly dedicated team. […]
Features
When Uncle Walt Met Mary Poppins: Mark Livolsi Edits ‘Saving Mr. Banks’
The release of Hancock’s current film, Saving Mr. Banks, which tells the tale of the making of Disney’s famous film, Mary Poppins, puts the spotlight on an unlikely pairing in many respects. […]
Features
Editor As Therapist: Stephen Mirrione Dissects ‘August: Osage County’
“Some of my directors definitely say that sitting with me in the editing room is a therapy session… I recommend to editors to go to a therapy session, because I think they would learn a lot about what it’s like to really listen and be able to draw out what a director is thinking and feeling.” – Stephen Mirrione […]
Features
He Shoots; He Cuts: Picture Editors Collaborate with Cinematographers
Because of the bifurcated way in which most films and television shows are made, with production and post-production each functioning more or less independently, they seldom have occasion to work together on a one-on-one basis. That does not mean, however, that they do not collaborate. […]
Features
The Department of ‘Homeland’ (Editorial) Security
The editorial opportunities have obviously changed as the series has evolved. According to Goldman, one of the goals for the pilot was to cut every scene so that it could be interpreted that Brody was either a terrorist or was just messed up from Post-Traumatic Stress Disorder. […]
