
‘One of Them Days’: Editor Tia Nolan Unpacks All the Cuts in Lawrence Lamont’s Sleeper Hit
By Peter Tonguette Picture editor Tia Nolan, ACE, knows comedy. Nolan was introduced to the craft of cutting comedies […]
By Peter Tonguette Picture editor Tia Nolan, ACE, knows comedy. Nolan was introduced to the craft of cutting comedies […]
‘It’s a classic sports drama, but what makes it special are the place and the people.’ […]
“You can’t do a movie about Maria Callas without using her real voice. It’s not like a rock or pop biopic where you can match the pitch.” […]
By Jennifer Walden For trailblazers, the way forward is not a clear-cut path. Progress requires perseverance because it’s impossible […]
By Rob Feld Evan Henke has always had that fascination with a certain art form. “Ever since I was […]
“People have a misconception about what Deafness is and are afraid to ask about it. Don’t assume that I can or cannot do something. Ask and I’ll tell you.” […]
“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.” […]
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