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. […]
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. […]
The film is about a campaign to organize workers in a union, while exploring hip-hop culture, the obstacles to black success in America, how capitalism crushes the soul, and how corporations have a dark secret to hide. […]
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. […]
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. […]
Igrew up in a little town in the middle of California called Atascadero, which loosely translates to “mud hole.” My hippie parents and I lived on a small ranch where my chores were feeding the sheep, pigs and chickens we raised. This was not a job I enjoyed. […]
To hear Robert “Bubba” Nichols describe it, working as a recordist sounds a little like serving as a fighter pilot. Okay, okay — pilots operate under life-and-death pressures in the air, while recordists toil under far less challenging conditions on a re-recording stage. […]
As a seven-year-old living in the jungles of Matute, Colombia, I was surrounded by an exotic land. My pets weren’t limited to the three dogs and six cats that roamed but also included a macaw named Ludwina, a howler monkey named Tarzan, several tortoises and an assortment of parrots and parakeets. […]
From the age of six, Ada McGrath refuses to speak, yet film audiences first saw and heard how clearly she communicates on May 15, 1993, when Jane Campion’s ‘The Piano’ premiered at the 45th Cannes International Film Festival. […]
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