Roman Polanski’s Chinatown
My love for Chinatown has only deepened as my affection for LA has grown more complicated. […]
My love for Chinatown has only deepened as my affection for LA has grown more complicated. […]
What makes The Right Stuff one of the great films — one that celebrates an American spirit of achievement — is the zeal of the producers, director, actors, cinematographer Caleb Deschanel and post-production crew to create a documentary look with experimental techniques and editing. […]
The release of Hancock’s current film, Saving Mr. Banks, which tells the tale of the making of Disney’s famous film, Mary Poppins, puts the spotlight on an unlikely pairing in many respects. […]
“Some of my directors definitely say that sitting with me in the editing room is a therapy session… I recommend to editors to go to a therapy session, because I think they would learn a lot about what it’s like to really listen and be able to draw out what a director is thinking and feeling.” – Stephen Mirrione […]
Ben Affleck has a “particularly clear mind” when it comes to the editing process and understanding his editor’s needs while he is shooting, according to William Goldenberg. […]
“Before Sunrise was the second film I edited for Rick, and it was also the first film I ever cut on an Avid… I was confronted with the challenge of starting right in on the cut with Rick and learning to use the Avid at the same time. It was an interesting few weeks at first!” – Sandra Adair, A.C.E. […]
Because of the film’s enormous reception in the United States, the reviled Japanese former empire became a world player in cinema. […]
It was bound to happen, eventually, that Steven Spielberg would finally embrace the Avid. […]
Pete Beaudreau spoke to CineMontage about ‘Margin Call’ and his career path. […]
“A movie is like a clay statue and editorial is the final part of that molding.” – Clint Eastwood […]
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