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. […]
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. […]
“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 […]
When do we make an edit? Where do we make an edit? I find the answer is increasingly: “Edit often.” […]
“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 […]
“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 […]
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. […]
The production and post-production of Ridley Scott’s ‘All the Money in the World’ is one of the most fascinating filmmaking stories of the past year, perhaps the decade. […]
The acclaimed web series “Transparent,” created by producer/writer/director Jill Soloway (“Six Feet Under,” 2001-05, and “United States of Tara,” 2009-11), has made waves on television and in the LGBTQ community. […]
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