In a way, Ben Lewis, one of the three founding members of the Society of Motion Picture Film Editors (SMPFE) — now the Motion Picture Editors Guild — was the quintessential company man, working 45 of his 52 years in the cutting room at Metro-Goldwyn-Mayer. […]
As soon as the MAY-JUN 12 issue of CineMontage — featuring “The 75 Best Edited Films” as selected by Editors Guild members — arrived in mailboxes, readers’ comments immediately ensued: Why was (insert title of your favorite film here) not included? […]
You Can’t Tell the Movies Without a Scorecard! […]
As the upcoming film Moneyball makes expressly clear, Baseball is a game of statistics––something rarely, if ever, touched on in any of the movies about the sport since the first Baseball movie arrived in 1898. […]
To hear Stuart Bass, ACE, talk about television editing, one might think he has an insouciant attitude towards his craft. “Editing comedy is a specific talent…it’s just difficult to say what that talent is,” he says glibly. […]
In the midst of a career in television, picture editors may think about how many years they’ve been on a show, but they may not stop to consider how many episodes of it they’ve cut. […]
Although assistant editors do embrace the chance to learn more, the question becomes: How much work is too much per assistant? Does bringing this extra work in-house mean that an extra assistant is required? And what does the assistant lose—mentoring time, for example—by taking on these extra tasks? […]
Allow me to introduce you to the post-production alchemy that produces the show that, according to Newsweek senior writer Andrew Romano, is “right now…the best program on TV, period.” […]
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