Features
The Look of ‘Michael Clayton’
John Gilroy, A.C.E., had to make sure the audience stayed inside the characters, while creating a subtle build-up of tension throughout. […]
Features
Features
Slave to the Rhythm: Niven Howie
“I let the actors’ eye movements guide my cuts. When an actor looks to someone else, I wait until they’ve looked, then cut to where they’re looking. It’s a simple thing, but when it’s not done right, it feels very weird.” – Niven Howie […]
Features
Lights, Camera, Edit!: Joel Viertel’s ‘Adjustment’ to Cutting On-Set
As the on-set, or reference editor, Viertel feels like he’s doing a service for the picture editor, to make sure he has all the resources mapped out the way he would want them. […]
Features
Sounds Like the 1930s: The Mixing of ‘Public Enemies’
Re-recording mixers Kevin O’Connell and partner Beau Borders have been working tirelessly since last October on mixing Michael Mann’s period gangster crime drama Public Enemies. Mann’s passion for detail and authenticity has been the hallmark of the film’s sonic nuances, according to O’Connell. […]
Features
Pietro Scalia Maestro of Movie Editing Meets the Merrie Men of Sherwood Forest
Film combines all the art forms––drama, theatre, photography, dance, music, architecture––but editing is very special and specific to film. It was borne out of film; it didn’t exist before that. There’s no other art form like it. […]
Features
Gilroy was Here: The Editor Leaves His Mark on Michael Clayton
“Some directors will allow you to edit practically the whole film before they look at your cut, but I really hate to work that way. I think an interactive relationship with a director from the beginning is key.” – John Gilroy […]
Features
A Matter of Frequency: An Essay on Editing Aesthetics
When do we make an edit? Where do we make an edit? I find the answer is increasingly: “Edit often.” […]
Features
Editing on Another Planet: John Refoua and Stephen Rivkin
“By the time we were going to camera, we were already dealing with all the best performances… We had to come up with a whole new language of terms—combos, stitches, FPR, loads, etc.––all invented on this production.” -Stephen Rivkin […]
Features
Coates Quotes
“Hugh Hudson is a brilliant and underrated director, but very difficult to work with. He didn’t cooperate with the studios; he was cutting out the stuff they wanted in and vice versa.”-Anne V. Coates […]
Features
Post-Apocalypso: Sound Design for the End of the World
Just what does the end of the world sound like? That’s the question that faced supervising sound editors/sound designers Steven D. Williams, MPSE, and Eric Norris, MPSE, as they approached this daunting film. […]
