Book Review: How Siskel & Ebert Became the Most Famous Movie Critics In America
Nostalgic fans of Siskel and Ebert may be the only readers to welcome all this detail. […]
Nostalgic fans of Siskel and Ebert may be the only readers to welcome all this detail. […]
“I love it when I get into this groove and I can’t believe a half hour has gone by and I’ve just been cutting things.” […]
“It is a performance-driven film so there’s nothing to hide behind.” […]
“One of the things we had to adapt very early on is the communication in the form of notes from Michael.” […]
by Kristin Marguerite Doidge Sunday’s 74th Annual ACE Eddie Awards, presented by American Cinema Editors (ACE), brought together […]
“I knew the film we were going to make would have to depart from the 1985 movie in terms of tone – and that we’d have to find our own visual language that would carry on sonically,” Bazawule said. “As we navigated the trauma and abuse in the story, we knew the fantastical elements had to come from reality.” […]
Working with film took Lame back to the dawn of her career. Lame noted that most editors her age and younger have worked only in the digital world, so the film workflow may not be familiar to them. “My first job was working on a film movie, ‘Before the Devil Knows You’re Dead.’ That was shot on film, the dailies were screened on film – everything. I feel lucky to have had that early opportunity to work with film.” […]
“In making a film, it is key to have a first-rate cinematographer and a first-rate editor,” Allen said. […]
“The Holdovers,” set over Christmas vacation in 1970 at a New England boarding school for boys, is the bittersweet portrait of complicated relationships among a grumpy teacher with a troubled past (Paul Giamatti), his callow student (Dominic Sessa) and a long-suffering dining-hall cook (Da’Vine Joy Randolph). Tent talked about editing for tone, tempo and rhythm, as well as his efforts on behalf of picture editors as the president of ACE. […]
“Marty never wants to repeat himself,” said Schoonmaker, the three-time Oscar-winning editor best known for her work with director Martin Scorsese on film classics such as “Raging Bull” and “Goodfellas.” “He gets a great new idea he wants to challenge himself with, and I’m being challenged with him,” she added. “There’s never any boredom.” Their latest challenge is the Apple-financed $200 million production, “Killers of the Flower Moon,” adapted by the writer Eric Roth and Scorsese from the 2016 non-fiction book by David Grann. […]
©2016-2021 Motion Picture Editors Guild