“I worked with the sound people creating the backgrounds for the radio station, commercials, and newscasts-it opened my eyes to post-production. That’s when I realized I’d like to be a music editor.” – Bill Abbott
Kay Rose talks about the relationships between mixers and sound editors, her role as an independent and the power of sound to create drama and shape story.
Anne Coates told stories of cutting rooms and editorial decisions, but more than that, she showed that she still has a tremendous passion for the work she does. […]
Steve Mirkovich and Allen Daviau talk about problems with previews and video dailies, the longevity of 35mm film, changes in editorial styles and more. […]
Steve Mirkovich and Allen Daviau discuss the importance of defending their crews, why they choose one project over another, and how they deal with the stress of tight schedules. […]
In this conversation, Richard Chew and Curt Sobel talk in detail about the process of music editing and how they’ve worked together to tell a story with music. […]
The job of the assistant editor has changed substantially over the last decade. […]
Film editor Richard Chew and music editor Curt Sobel talk about how digital technology has affected their jobs, the recent trend toward shortened schedules, the difference between tracking and working with a composer, and more. […]
Production mixer Chris Munro, sound editor Victoria Rose Sampson and re-recording mixer Leslie Shatz share their different points of view about sound. […]
Joseph “Jay” Duerr’s interview with Walter Murch. […]
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