Sharp dialogue. Splintered chronology. Bursts of extreme violence. Must be Quentin Tarantino. Sally Menke, A.C.E. has been there every step of the way… providing the brilliantly bold cutting for all of the director’s films. […]
No doubt about it, this is a very funny film. But it is more than just the string of lunatic comedic moments; it also examines themes of friendship and growing up. […]
By the time movies arrived, all the elements of the legend were in place—except for a cohesive plot line. […]
Remarkably, De Sica doesn’t waste any time on setting the scene or on the family’s backstory in this act. He deems the viewer intelligent enough to take clues from the allegories he provides, and doesn’t take refuge in a voiceover. […]
John Gilroy, A.C.E., had to make sure the audience stayed inside the characters, while creating a subtle build-up of tension throughout. […]
“I let the actors’ eye movements guide my cuts. When an actor looks to someone else, I wait until they’ve looked, then cut to where they’re looking. It’s a simple thing, but when it’s not done right, it feels very weird.” – Niven Howie […]
Film combines all the art forms––drama, theatre, photography, dance, music, architecture––but editing is very special and specific to film. It was borne out of film; it didn’t exist before that. There’s no other art form like it. […]
“Some directors will allow you to edit practically the whole film before they look at your cut, but I really hate to work that way. I think an interactive relationship with a director from the beginning is key.” – John Gilroy […]
“By the time we were going to camera, we were already dealing with all the best performances… We had to come up with a whole new language of terms—combos, stitches, FPR, loads, etc.––all invented on this production.” -Stephen Rivkin […]
“Hugh Hudson is a brilliant and underrated director, but very difficult to work with. He didn’t cooperate with the studios; he was cutting out the stuff they wanted in and vice versa.”-Anne V. Coates […]
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