George Larkin offers a startling premise in the book Post-Production and the Invisible Revolution of Filmmaking: From the Silent Era to Synchronized Sound, one that may delight some readers while offending others. He states the fact that post-production work is critical to all filmmaking but takes that fact further, stressing that post is the major driver of film creation, eclipsing all else. […]
As part of the IATSE union, the Editors Guild is fortunate to have plentiful resources to offer many benefits for our membership. These include training, seminars, mixers and screenings, to name a few. […]
In 1966, there were worse places to grow up than Iowa. My hometown, Marion, was a ten-minute bus ride from Cedar Rapids with its department stores, book and record shops, and three movie houses. […]
While working at 20th Century Fox in the early 1990s, story analyst Christine Culler was assigned a steady diet of romantic comedies and children’s books. Then, in 1995, a different sort of project came across her desk: ‘Minority Report,’ a futuristic suspense film, heavy on action and low on meet-cutes. […]
You might say that Tommy Vicari, CAS, is the beneficiary of good timing. A few years after director Sam Mendes and composer Thomas Newman were the toast of the film world for the Academy Award-winning American Beauty (1999), Vicari was asked to serve as scoring mixer on their follow-up film, Road to Perdition (2002). […]
I grew up in Santa Clarita during the 1970s. In my early teens, I’d go to work with my dad, Leonard Kroll, who, at the time, was the head of post-production at 20th Century-Fox. […]
Few directors were more familiar with the pleasures and perils of film editing than Orson Welles. […]
When Lee Dichter, CAS, was informed that he would receive the Motion Picture Editors Guild’s 2018 Fellowship and Service Award, it did not take long for the veteran sound re-recording mixer to accept. […]
2017 Wonder Wheel 2016 Café Society 2015 Everything Is Copy (Documentary) Irrational Man 2014 A Walk Among the Tombstones Rosewater […]
Orson Welles was looking forward to editing ‘The Other Side of the Wind.’ In 1970, before he had even begun shooting what became his now-fabled unfinished (until this year) film, Welles discussed his post-production plans in a conversation with his friend, actor-director-writer Peter Bogdanovich. […]
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