‘Taking Woodstock’ is a movie of source music—and not just the kind that comes from a radio playing on a tabletop. Designed to blend seamlessly with the needle-drop tunes, a lot of that was provided by the “live” hippies. […]
It’s never acceptable to let people take advantage of our time, skills and talent. […]
Scattered throughout the films of Cameron Crowe are moments in which the director’s adolescent rock wordsmith background shine through. […]
Cover Girl (1944) is a famous movie for two reasons — one intentional and the other accidental. The film’s legacy is of a time when women were celebrated for their glamour and sexuality. […]
For the first 10 days of their collaboration, composer Jack Nitzsche did not say more than two words to music editor Curt Sobel. […]
In a career spanning nearly 45 years, supervising sound editor Anthony J. “Chic” Ciccolini III has worn many hats. […]
The wordsmith and the war correspondent were an item for not even a decade. Ernest Hemingway and Martha Gellhorn made each other’s acquaintance in 1936, married in 1940 and divorced in 1945. […]
As the Motion Picture Editors Guild enters its 80th anniversary year, it’s important to recognize that 2017 also marks the 90th anniversary of the commercial ascendance of motion pictures with synchronized sound, which were called “talkies.” […]
“I worked with the sound people creating the backgrounds for the radio station, commercials, and newscasts-it opened my eyes to post-production. That’s when I realized I’d like to be a music editor.” – Bill Abbott
In this conversation, Richard Chew and Curt Sobel talk in detail about the process of music editing and how they’ve worked together to tell a story with music. […]
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