Web Exclusives
‘The Thrill Is the Idea:’ Paul Hirsch Reveals the Secrets Behind Editing ‘Star Wars,’ and Writing His New Memoir
“This is the most narcissistic thing a person could do.” […]
Film History
Features
How Kate Corbaley, Powerful Reader at MGM in the 1930s, Paved the Way for Today’s Hollywood Literary Scouts
“It all depended on how Kate Corbaley narrated the story.” […]
Features
Thelma Schoonmaker Talks of Editing, Aging, and Endings in Martin Scorsese’s ‘The Irishman’
“You never know what is going to happen when you put two pieces of film together.” […]
Features
How Story Analysts from Hollywood’s Golden Age Helped Build Movies, and a Lasting Labor Movement
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. […]
Columns
How Emilio Fernández’s Classic ‘Enamorada’ Boosted Mexican Cinema
“It was possible to create a Mexican cinema with our own actors and our own stories, without having to photograph gringos.” […]
Awards
How Marty Cohen, Recipient of MPEG’s 2019 Fellowship and Service Award, Became a Post-Production Giant
“I’m an editor at heart.” […]
Web Exclusives
Princeton’s Su Friedrich and Her Website Salute the Vital, Often Unsung Work of Women Editors Throughout History
“It was extremely difficult to find more than the skimpiest info about editors, so I just kept digging and digging.” […]
Features
How Famed Hollywood Eatery Musso & Frank Became a Post-Production Hangout
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. […]
Web Exclusives
Alfred Hitchcock’s Secret Censorship Battles and How They Changed Film History
The director fought censors on both sides of the Atlantic from the start of his career to the very last. […]
Web Exclusives
Fred Raskin Talks About Editing Quentin Tarantino’s ‘Once Upon a Time … in Hollywood’
“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.” […]
