In ‘American Fiction’, Picture Editor Hilda Rasula Made the Most of a Commanding Lead Performance
“It is a performance-driven film so there’s nothing to hide behind.” […]
“It is a performance-driven film so there’s nothing to hide behind.” […]
“The Holdovers,” set over Christmas vacation in 1970 at a New England boarding school for boys, is the bittersweet portrait of complicated relationships among a grumpy teacher with a troubled past (Paul Giamatti), his callow student (Dominic Sessa) and a long-suffering dining-hall cook (Da’Vine Joy Randolph). Tent talked about editing for tone, tempo and rhythm, as well as his efforts on behalf of picture editors as the president of ACE. […]
For director Robert Zemeckis, Schmidt was the editor of, among other classic films, the “Back to the Future” trilogy (1985, 1989, 1990), “Forrest Gump” (1994), and “Contact” (1997). He won two Oscars during his multi-decade partnership with Zemeckis: for “Who Framed Roger Rabbit?” (1988) and for “Forrest Gump.” […]
“Online editing may seem a little less creatively rewarding compared to offline editorial, but I find visual effects to be a satisfying creative outlet by developing new workflows and solving problems in session and on the fly.” […]
Marion was known for her dedication to bringing the director’s vision to the screen, and she was fiercely loyal to the many varied directors she worked with. […]
“A movie’s like an album. It has to flow properly in a lot of ways, and you have to be able to dance to the rhythm of the dialogue and the rhythm of the scenes and motion.” […]
By Patrick Z. McGavin Through his collaborations with Judd Apatow, Adam McKay and Paul Feig, Brent White, ACE, is […]
By Su Fang Tham With its entrancing medley of neon-drenched kinetic action, pulpy narrative, and a retro-cool mythological world, director […]
Text-Based Editing, empowered by AI, starts by automatically transcribing your source media and generating accurate text transcripts of all the dialogue. By associating names to the different voices, Text-Based Editing will automatically identify who’s speaking. […]
“I was first drawn to film editing because of how similar it felt to writing. It’s the part of the process where you give language to cinema.” […]
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