For director Robert Zemeckis, Schmidt was the editor of, among other classic films, the “Back to the Future” trilogy (1985, 1989, 1990), “Forrest Gump” (1994), and “Contact” (1997). He won two Oscars during his multi-decade partnership with Zemeckis: for “Who Framed Roger Rabbit?” (1988) and for “Forrest Gump.” […]
“I didn’t go to film school with a background in filmmaking at all. I’d never cut anything together. When I got into the editing room, I realized that this was where I was going to learn the most.” […]
“This is one of those things where you read it and it just works in a number of ways.” […]
“He didn’t like cuts being in predictable places. In other words, one of the things that you often strive for in editing is to make the editing disappear: somebody finishes the line and the next person speaks, and you cut to it right away. Billy was always most interested in making unpredictable cuts that, in his mind, were better.” […]
‘Wait a minute. It doesn’t sound like it did on the mixing stage.’ […]
By Mel Lambert With Dolby Atmos immersive playback now available in an increasing number of consumer environments, is it […]
By Kristin Marguerite Doidge Just as the protagonists in “Aristotle & Dante Discover the Secrets of the Universe” find […]
‘It’s all about making this movie fly, transform and transport audiences.’ […]
Marion was known for her dedication to bringing the director’s vision to the screen, and she was fiercely loyal to the many varied directors she worked with. […]
“A movie’s like an album. It has to flow properly in a lot of ways, and you have to be able to dance to the rhythm of the dialogue and the rhythm of the scenes and motion.” […]
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