Anne Goursaud on ‘Bram Stoker’s Dracula’

July 1, 2019

“My first thought was, ‘Oh God, this is perfect material for Francis — he’s going to do a fantastic job with this,” remembers editor Anne Goursaud, ACE, regarding Bram Stoker’s 1897 horror novel Dracula. […]

What Price Innocence?
‘When They See Us’ Recounts the Journey of Five Wrongfully Convicted Teens

June 7, 2019

In 1989, five teenagers of color were arrested and accused of the rape and brutal beating of a white woman who had been jogging in Central Park. Although the DNA on the rape kit didn’t match any of the young men, they were first coerced to “confess” and convicted by juries in two separate trials in 1990. Dubbed the Central Park Five, the boys became men during their six to 13 years in prison before a convicted serial rapist confessed to the attacks in 2002. […]

La ‘Vida’ Familiar: A Latinx Homecoming

June 7, 2019

I had forgotten just how much of myself my work asks me to leave at the door until I worked on Vida. The Starz network show, which had its second season premiere on May 23, was the first network television show on which I’ve ever had the pleasure of being asked to assist. My head didn’t stop spinning from the offer until several weeks into working on the series’ debut season last year. When it finally did stop, it landed smack-dab in the middle of the significance that Vida would have not just for me, but for television itself. […]

The Long Journey to Overnight Success

June 7, 2019

I don’t remember exactly how I fell in love with storytelling. Perhaps it was because I was read to as a child — a lot. Editing is a different story. I first touched an Avid in 1999 as a summer intern in the creative services department at McDonald’s (yes, that one), and was hooked. I returned to Ball State University and would spend nights in the college editing bays, cutting anything I could, powered by Cherry Coke and Hostess frosted honey buns. […]

When Editing Began: The Cut that Launched a Filmmaking Craft

June 7, 2019

By the time film pioneer Georges Méliès made this only slightly exaggerated claim, the making and exhibition of narrative film was establishing itself as a business separate from the variety stage and lecture circuit. As more people visited storefront theatres to see moving picture stories, they watched the art and craft of editing evolving on screens right before their eyes. […]

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