Features
George Lucas’ ‘Star Wars’ (1977)
I’m convinced that ‘Star Wars’ has caused more people to enter the film industry than any other motion picture in history. And I’m one of them. […]
Film
Features
The Droid Olympics: When Editing was a Competitive Sport
The friendly spirit of camaraderie and community combined with an excitement about the art and craft of film, reached its epitome in the Droid Olympics. […]
Features
Elia Kazan’s ‘Splendor In The Grass’ (1961)
‘Splendor in the Grass’ is visually sensual. […]
Features
Hanley & Hill: Howard’s Editing Tag-Team
“Seamless” is the term supervising sound editor Chic Ciccolini uses to describe the working method of Hanley and Hill. […]
Tail Pop
James Bridge’s ‘The Paper Chase’ (1973)
This was a revelation. The idea that if you’re not careful, life can turn into one big “paper chase” from birth certificate to death certificate, was something I had never considered. […]
Tail Pop
George Cukor’s ‘The Philadelphia Story’
Only Richard Curtis seems capable of executing scripts that harken back to ‘The Philadelphia Story’s’ complexity. […]
Features
From the Golden Age to the Golden Years: James Blakeley & Rudy Freeman
James Blakeley, the legendary and highly respected film editor looks forward to driving 10 minutes to the office every work day; and he thoroughly enjoys editing film with 79-year-old Rudolpho (Rudy) Freeman. […]
Features
Post Modern Romance: Albert Brooks Played an Editor and Loves the Process
CineMontage asked him about his upcoming feature, Looking for ‘Comedy in the Muslim World’, as well as his involvement in the editing process and his working relationship with editor Anita Brandt Burgoyne. […]
Columns
Doug Soesbe on ‘Meet the Parents’
‘Meet the Parents’ began life as a low-budget 1992 film of the same title. Through the years, assorted A-list directors flirted with the project without proceeding. […]
Features
Stranger Than Paradox: The Unusual Filmmaking Practices of Jim Jarmusch
Jim Jarmusch sat down with CineMontage to discuss his long-term collaborative relationship with editor Jay Rabinowitz, their work on the new film and his rather unconventional approach to film editing. […]
