It is with extreme sadness that I report the news that our dear friend and colleague, Paula Greatbatch Suhy, has left us. She passed away on Tuesday, May 29, 2018 — four days after her 60th birthday. […]
Murray B. Jordan, ACE, film editor for Richard Brooks and Sam Peckinpah — and later a longtime editor and producer of the television series ‘Cops’ (1989-present) — died on July 1 in Elche, Spain. He was 81. […]
Françoise Bonnot, ACE, the acclaimed editor of more than 50 films over six decades, died June 9 at the age of 78 in her hometown of Paris. She won an Academy Award for her work on Costa-Gavras’ 1969 masterpiece ‘Z,’ as well as a BAFTA Award for the same director’s 1982 drama ‘Missing.’ […]
Over the decade leading to 1973, with the progress achieved by the civil rights movement, a greater awareness emerged in the African-American community of its own history and culture. Despite this growth of self-worth, pride and initiative giving strength to the idea of Black Power, the systemic practice of inequality and oppression of minorities continued to afflict American society. […]
Meyerson momentarily stopped thinking of scores like songs for one of his most personally significant projects: writer-director Terrence Malick’s World War II drama ‘The Thin Red Line,’ released by 20th Century Fox in December 1998. […]
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. […]
©2016-2025 Motion Picture Editors Guild
