Fifteen years ago, if you told Jen Monnar that she would one day work as a music editor on films directed by the likes of Marc Webb, Neil LaBute, and Joel and Ethan Coen, she would not have believed you. In fact, she would have very likely asked, “What’s a music editor?”
The canvas of The Right Stuff (1983) is rightly thought of as large — Herculean, even. In recounting the history of America’s valiant test pilots and astronauts, writer-director Philip Kaufman’s adaptation of Tom Wolfe’s acclaimed book is peopled by an enormous cast, and it traverses the earth, sea and outer space. […]
The owners and participants in Formosa Group are all creatives who together with 10 other seasoned post professionals, comprise the talent pool of a new operation that opened for business in early 2013. […]
A few months before I started working on The Descendants, Alexander told me he wanted the score for that film to be made up solely of pre-existing, traditional Hawaiian music. It was an exciting challenge. […]
his summer, the debut of his latest film emphasizes the music-appreciation side of Eastwood as never before. […]
His most memorable film? Don’t ask that of Paul Hirsch, ACE. The Academy Award-winning editor does not believe in the concept, and a quick perusal of the more than 40 films to his credit suggests the futility of that exercise: Is it Carrie (1976) or Star Wars (1977)? The Empire Strikes Back (1980) or Ferris Bueller’s Day Off (1986) — or something else? […]
After 40 years, Robert Altman’s satiric tapestry of American society looks more accurate than ever. […]
Brian A. Kates, ACE, counts firmly as one of New York’s quintessential indie film editors. He initially came to film through the lens of post-production […]
While music editorial normally is one of the last chores to be completed prior to the mix — preferably against a locked picture — the creative choices start early in the process. An orchestral score or prominent source music can propel a dramatic narrative as strongly as the dialogue. […]
After the publication of my article, “Automatic for the People,” in the last issue of CineMontage (Q1 2017), I received […]
©2016-2021 Motion Picture Editors Guild
