Features
Matthew Hannam on Editing ‘White Noise’ and Managing the Jump from Page to Screen
“The second you put your neck out and do something on your own, you could die. I think that’s a really salient concept.” […]
Film
Tail Pop
Coming Out: Growing up with ‘Saving Face’
By Donna J. Choo I grew up in Hawai‘i, on the island of O‘ahu, where my moviegoing love began at […]
Web Exclusives
Jay Prychidny on Editing the Hit Netflix Series ‘Wednesday’
“I wanted to explore holding on her face longer than you otherwise might think to, to get people inside her head.” […]
Web Exclusives
Lee Smith Talks About Re-teaming With Sam Mendes for ‘Empire of Light’
“Changing your mind or making adjustments is like rebuilding a house that you continuously knock over with a sledgehammer.” […]
Features
Billy Fox Talks Editing the Military Drama ‘Devotion’
“What bounced in my head a lot was the concept of devotion.” […]
Awards
For Your Consideration: Studio DVD Award Screeners Are Wasteful and Need to Go (OPINION)
Instead of placing the burden on the members who receive these DVDs by no choice of their own, media companies should assume responsibility for the problem they’ve created. […]
Features
On the Road Again: Editor Paul Hirsch Remembers ‘Planes, Trains and Automobiles’
By Peter Tonguette Neal Page and Del Griffith are on the road again. The famous cinematic odd couple — amusingly […]
Web Exclusives
Scott Gershin on Finding the Right Sounds for Guillermo del Toro’s ‘Pinocchio’
“What I found challenging and what required a journey was to find the sound of Pinocchio. Let’s start with wood, so you bang pieces of wood together and you go, ‘Well that doesn’t work.'” […]
Features
William Caparella Talks About Editing ‘Luck’ and How to Have a Career in Animation
“I think the best thing is having a vision, because it is animation. We don’t have any guide or source track. We build everything from nothing, literally a blank piece of paper.” […]
Web Exclusives
Mike Sale on Editing ‘Black Adam,’ Judd Apatow Movies, and Developing Survival Skills
“I had worked at a movie theater where I saw hundreds of movies in front of audiences, from the late ’70s to the mid-’80s. I watched them so many times—things like ‘E.T.’—that I could tell you what the audience was going to do.” […]
