On March 23, 2019, the Motion Picture Editors Guild’s Women’s Steering Committee organized an evening celebration in the Guild’s Dede Allen Seminar Room honoring Women’s History Month. […]
CineMontage sat down with Anita Brandt Burgoyne to talk about how she made the transition from assistant to TV to features and how her career led to working with Brooks.
“I read scripts submitted for consideration, providing a synopsis and my analysis of whether they are a good bet for the studio — the pros and cons of premise, character, storyline, dialogue, etc.” […]
The documentary Making Waves: The Art of Cinematic Sound, which CineMontage wrote about in October 2017, will receive its world premiere at the Tribeca Film Festival in New York City in late April. […]
From early in her career in the film business, Jeannette Browning recognized that she was something of a rarity. “I was really interested in dubbing, but I realized that there were no female dubbing mixers,” she says. […]
“…and it’s being shot completely in Arabic.” Say what? I fervently hoped that the webcam pixelation hid the panic I could feel creeping into my eyes. […]
For a picture editor working in independent films, there are few things more exhilarating than having your film accepted in a major film festival — especially if it does not yet have a distributor, and particularly if the fest is the premier showcase for indie films: the Sundance Film Festival in Park City, Utah. This year, the festival ran January 24 to February 3. […]
Longtime classic Disney character Donald Duck’s mischievous nephews Huey, Dewey and Louie made their very first appearance 82 years ago in a February 1937 Donald Duck Sunday newspaper comic strip (only three years after Donald himself was created). By October of that year, the triplets had their own strip, Donald’s Nephews, and six months later, in April 1938, the three ducklets made their animated debut in a cartoon short of the same name. […]
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). […]
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