“I believe that movies are getting more and more complex visually, and the more visually complex they get, the more they have to rely on the sound to sell those visual effects.” – Kevin O’Connell […]
Working on Leverage gave Kenneth L. Johnson his own leverage to push his own shop, Artistry in Sound, to the next level. […]
Legendary movie producer Sam Goldwyn wrote the quote, opposite, in an article for The New York Times Magazine in 1949, just as television was emerging as a major mass medium. […]
His most memorable film? Don’t ask that of Paul Hirsch, ACE. The Academy Award-winning editor does not believe in the concept, and a quick perusal of the more than 40 films to his credit suggests the futility of that exercise: Is it Carrie (1976) or Star Wars (1977)? The Empire Strikes Back (1980) or Ferris Bueller’s Day Off (1986) — or something else? […]
After 40 years, Robert Altman’s satiric tapestry of American society looks more accurate than ever. […]
“Foley artists create sounds in sync with actions seen on screen. We will make the footstep sounds for every character in a film, giving their steps the personality the actor portrays on camera.” […]
Andrew Mondshein sits down with CineMontage to talk about his editing history and the impact that digital, non-linear editing will have on the craft. […]
Dede Allen took to digital editing with the same curiosity and determination that motivated her throughout her career. […]
Picture Editor Don Brochu, sound effects supervisor Bruce Stambler and music editor Chris Ledesma joined forces for this fireside chat that focused on collaboration and the importance of sound. […]
Dede Allen discusses some of the new pressures that have affected editors, the increasing use of editors as film doctors and the changing hierarchy of the cutting room for assistants. […]
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