Features
The Look of ‘Michael Clayton’
John Gilroy, A.C.E., had to make sure the audience stayed inside the characters, while creating a subtle build-up of tension throughout.
Film
Features
Slave to the Rhythm: Niven Howie
“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
Features
Pietro Scalia Maestro of Movie Editing Meets the Merrie Men of Sherwood Forest
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.
Features
Gilroy was Here: The Editor Leaves His Mark on Michael Clayton
“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
Features
Editing on Another Planet: John Refoua and Stephen Rivkin
“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
Features
Coates Quotes
“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
Features
Post-Apocalypso: Sound Design for the End of the World
Just what does the end of the world sound like? That’s the question that faced supervising sound editors/sound designers Steven D. Williams, MPSE, and Eric Norris, MPSE, as they approached this daunting film.
Features
Replacing Kevin Spacey: Claire Simpson on
Re-Cutting ‘All The Money in the World’
The production and post-production of Ridley Scott’s ‘All the Money in the World’ is one of the most fascinating filmmaking stories of the past year, perhaps the decade.
Columns
John Bloom on ‘Who’ll Stop the Rain?’
In the early 1960s, when he first met director Karel Reisz, editor John Bloom already knew his way around a cutting room. By then, the London-born editor had risen through the ranks as an assistant editor to cut several films solo.
Guild
ACE Announces Eddie Awards Nominees
The American Cinema Editors (ACE) have announced nominations for the 68th Annual ACE Eddie Awards, recognizing outstanding editing in ten categories of film, television and documentaries.
