The period during which the newsletter circulated was a critical and tumultuous one for movie sound. It was clear to all that digital would ultimately replace multi-track analog, but no one knew when, or in what format. […]
CineMontage has turned to the Guild’s erudite, critical and scholarly branch––the story analysts––and asked them to venture deep inside their inner film geeks, to forget that their professional reputations could be at stake and to admit to the world––or at least to their fellow Guild members––what their favorite guilty pleasure movies are. […]
Some excerpts from a panel of sound effects professionals. […]
Have you seen Laurel and Hardy do exactly the same skit in both a silent and a sound version? Was it actually the quality of John Gilbert’s voice that doomed his career in the talkies? What beloved classic movie used Fantasound? Why did editors resist changing from optical to magnetic sound? […]
In 1998, when re-recording mixers Rick Alexander and Richard D. Rogers first met with director John Frankenheimer about working on “Ronin,” there were many subjects that could have been discussed. […]
To relate the history of film post- production sound during the past 75 years is to tell the story of the creative post facilities that made such developments possible through a combination of tenacity and technical developments. […]
“Great film editing begins with great pictures,” said Barbara “Bobbie” McLean in a 1977 interview in Film Comment magazine. She could make such a gracious statement with authority at that point, after cutting for more than 60 years, beginning as […]
In his study of silent films, The Parade’s Gone By…, author Kevin Brownlow described editing as “the hidden power.” “Editors are passed over by film historians because their work, when successful, is virtually unnoticeable,” Brownlow wrote. […]
The Motion Picture Editors Guild has existed 75 years, a time period often associated with the span of a human life. It is no surprise then that the lives of some of the Guild’s retired members encompass the Guild’s entire history. […]
Television kept post-production people employed during the post-World War II years in New York. Feature film was a West Coast commodity, but the Madison Avenue advertising firms, such as J. Walter Thompson, Benton & Bowles and Hill & Knowlton, among others, were a major part of the “go-go” years in Manhattan. […]
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