Over the course of her long and accomplished career, assistant editor Christy Richmond has attended her share of screenings for studio executives. Sometimes, the higher-ups respond favorably; other times, their reactions are less than what the filmmakers might have expected. […]
For me, the most exciting part of the job is taking music written by the composer and finding sneaky ways to reintegrate it into different parts of the show. This not only establishes thematic continuity, but also helps speed the process along. […]
Post-production professionals are regularly asked why they select specific picture cuts or sound transitions. Those with successful careers know how to discuss, and sometimes defend, their choices in language that producers and directors understand quickly. […]
Nineteen eighty-six was a particularly good movie year for me. I worked in a video store after school and on weekends, so I saw a lot them — especially horror films; the more outrageous the better. […]
Over the decade leading to 1973, with the progress achieved by the civil rights movement, a greater awareness emerged in the African-American community of its own history and culture. Despite this growth of self-worth, pride and initiative giving strength to the idea of Black Power, the systemic practice of inequality and oppression of minorities continued to afflict American society. […]
There are not many name directors who are active members of the Motion Picture Editors Guild and still edit. Two-time Oscar nominee Gus Van Sant is one of them. He is back in the editing chair again to co-edit his latest film, “Don’t Worry, He Won’t Get Far on Foot.” […]
Meyerson momentarily stopped thinking of scores like songs for one of his most personally significant projects: writer-director Terrence Malick’s World War II drama ‘The Thin Red Line,’ released by 20th Century Fox in December 1998. […]
After editing all four of Julie Taymor’s films, including the latest, ‘The Tempest,’ the gender-bending adaptation of Shakespeare’s final play, Françoise Bonnot, ACE, has come to believe that the director bridges time by mixing past and present sensibilities and techniques. […]
CineMontage has turned to the Guild’s erudite, critical and scholarly branch––the story analysts––and asked them to venture deep inside their inner film geeks, to forget that their professional reputations could be at stake and to admit to the world––or at least to their fellow Guild members––what their favorite guilty pleasure movies are. […]
With the clarity of hindsight,perhaps the Academy can find a way to single out those films of past years that may have been unjustly overlooked.
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