Features
‘Munich’, Mentoring & Moviolas The Michael Kahn Interview
CineMontage spoke with Michael Kahn, in his editing bay in the Howard Hawks building at 20th Century Fox, about ‘Munich’, and his 30-year working relationship with Spielberg.
Features
Features
Original Vitagraph Studio Enters Its Second Century
The Vitagraph Studio was the veritable cradle of the film industry.
Features
Conversation with a Dream-maker: Bill Condon
While overseeing the mix of ‘Dreamgirls’ at Todd-AO West in Santa Monica, California, writer/director Bill Condon spoke with CineMontage.
Features
Virginia Katz’s Dream Job
Ginny Katz is a pleasure to work with, and her warm and generous spirit characterizes her friendships just as her distinctive talent marks every cut of her films.
Features
Read On!: Story Analysts Strive for More Recognition
The job of the story analyst goes way beyond reading a script.
Features
The Hyphenate Diaries: Robert Pulcini Edits, Writes and Directs with His Wife
CineMontage recently visited Pulcini in his New York editing suite.
Features
Florentine Editors Came Up Through the Ranks
Picture editors Erik Ewers and Tricia Reidy are an integral part of Florentine Films’ post-production team.
Features
Minding Their Beats and Cues: Despite Some Discord, Music Editors Play On
Stephanie Lowry provides a roadmap to some of the issues being dealt with by the rank and file music editors.
Features
The Sounds of ‘War’
Though many documentary producers cut corners on sound editing, relegating it to the bottom of the production budget, filmmaker Ken Burns is the opposite.
Features
Cutting Up in the Workplace: ‘The Office’ Editors Have Too Much Fun on the Job
You don’t find too many editors who work office jobs. David Rogers and Dean Holland do, however. Only their office is ‘The Office’.
