Midway through George Cukor’s Rich and Famous (1981), there is a scene that, all by itself, encapsulates the witty banter that was the director’s signature. The heroine of the film, a celebrated writer played by Jacqueline Bisset, is in her room at the Algonquin Hotel, ostensibly to be interviewed by a young Rolling Stone journalist (Hart Bochner). […]
I was fortunate to fall into picture editing. […]
Film flows deeply through the blood of editor Christopher Rouse, A.C.E., as a third-generation participant in the industry. […]
Hollywood mythology has it that a determined person can start in the mailroom and end up at the top of the business. While very few people actually make that myth become a reality, Randy J. Roberts, A.C.E., is living proof that it can happen. […]
Richard Halsey, A.C.E., lives by three rules: Be organized, listen to your intuition and always tell the truth. These are rules that the editor applies to his work, as well as to his life. Of course, Halsey says, it’s not always easy. […]
Robert C. Jones grew up in the film industry; his father, Harmon Jones, was a feature film editor (Gentleman’s Agreement, Panic in the Streets, among others) and later TV director (Rawhide, Perry Mason and Death Valley Days). […]
I was on the path of the confused college looking primarily for an interesting career and secondarily for a way to earn a living. My two goals never seemed to want to co-exist. […]
CineMontage interviewed the pair in late May about the new film and working with Abel Ferrara. […]
Few people are privy to the secrets of filmmaker Christopher Nolan’s new science-fiction adventure Interstellar — and those who are aren’t talking. One person who knows Interstellar more intimately than most is editor Lee Smith, ACE, […]
In 1960, after college, the army, UCLA film school, paying my dues as a can-carrying apprentice and assisting (mostly on commercials, but also some documentaries and industrials), I received a call from the editor Peggy Lawson, who said, “Sidney needs an assistant; I’m recommending you.” […]
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