Story analysts organized and fought battles from which today’s union story analysts, as well as members of all Hollywood IA locals, still reap benefits. […]
“It was possible to create a Mexican cinema with our own actors and our own stories, without having to photograph gringos.” […]
“I’m an editor at heart.” […]
“It was extremely difficult to find more than the skimpiest info about editors, so I just kept digging and digging.” […]
For the last century, the Musso & Frank Grill has been the preferred dining and drinking destination for innumerable movie stars, literary legends and other notables. Even sports heroes have been known to walk through its doors. […]
The director fought censors on both sides of the Atlantic from the start of his career to the very last. […]
“During production, Quentin does not enter the editing room. He doesn’t want to look at any edited footage because he just wants to focus on shooting the movie.” […]
Since making his first independent film, “The Return of the Secaucus Seven,” Sayles has established a unique relationship with the industry. […]
At my high school, admission to advanced placement (AP) classes was by invitation only. I tried four times to be admitted into AP English. The head of the department, a sour and exhausted woman named Ms. Gallagher, eventually told me, “I wouldn’t feel good about myself if I encouraged you to pursue something at which you won’t succeed.” […]
In 2003, after sound editor, sound designer and re-recording mixer Ron Bochar, CAS, completed work on Mike Nichols’ miniseries Angels in America, he felt good about what he and his sound colleagues had accomplished. He felt so good, in fact, that part of him wished he could simply call it a career. […]
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