UNION MADE: Following in Father’s Footsteps
I started editing quarter-inch reels of recorded audio sessions, then got bumped up to an assistant working with film on a Moviola. I was surprised by how much I liked it.
I started editing quarter-inch reels of recorded audio sessions, then got bumped up to an assistant working with film on a Moviola. I was surprised by how much I liked it.
Midway through George Cukor’s Rich and Famous (1981), there is a scene that, all by itself, encapsulates the witty banter that was the director’s signature. The heroine of the film, a celebrated writer played by Jacqueline Bisset, is in her room at the Algonquin Hotel, ostensibly to be interviewed by a young Rolling Stone journalist (Hart Bochner). […]
I was fortunate to fall into picture editing. […]
Richard Halsey, A.C.E., lives by three rules: Be organized, listen to your intuition and always tell the truth. These are rules that the editor applies to his work, as well as to his life. Of course, Halsey says, it’s not always easy. […]
Robert C. Jones grew up in the film industry; his father, Harmon Jones, was a feature film editor (Gentleman’s Agreement, Panic in the Streets, among others) and later TV director (Rawhide, Perry Mason and Death Valley Days). […]
I was on the path of the confused college looking primarily for an interesting career and secondarily for a way to earn a living. My two goals never seemed to want to co-exist. […]
Plummy Tucker found the time to talk to CineMontage about her varied career, including her upcoming projects. […]
The first time I heard my assistant editor referred to as an “AE,” the hairs on my back went up! I felt it was disrespectful and unbecoming — but why? After all, we call production assistants PAs without offense, so why not call assistant editors AEs? Well, for starters, PAs fetch coffee and deliver scripts, whereas assistant editors perform highly skilled creative and technical work in an artistic craft. […]
This year, as part of its annual selection of fully restored classics, the 72nd International Venice Film Festival presented, along with Federico Fellini’s Amarcord (1973), Akira Kurosawa’s Red Beard (1965) and Sergei Eisenstein’ Alexander Nevsky (1938), among others, Charles Burnett’s To Sleep with Anger (1990) — the most recently made of all the dramatic features chosen. […]
My interests in film and theatre started at Roy Elementary School in Northlake, Illinois, when I got to do lighting for school plays. […]
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