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. […]
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. […]
“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 […]
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. […]
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. […]
Ben Affleck has a “particularly clear mind” when it comes to the editing process and understanding his editor’s needs while he is shooting, according to William Goldenberg. […]
“Before Sunrise was the second film I edited for Rick, and it was also the first film I ever cut on an Avid… I was confronted with the challenge of starting right in on the cut with Rick and learning to use the Avid at the same time. It was an interesting few weeks at first!” – Sandra Adair, A.C.E. […]
“Sound is 50 percent of the movie; it is critical.” – Michael Bay […]
It was bound to happen, eventually, that Steven Spielberg would finally embrace the Avid. […]
Pete Beaudreau spoke to CineMontage about ‘Margin Call’ and his career path. […]
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