On Saturday evening, January 12, the Los Angeles Film Critics Association (LAFCA) presented its 38th Annual Awards at a gala dinner at the Intercontinental Hotel in Century City. Post-production personnel attending the celebration had a special reason to celebrate this event as LAFCA premiered its award for the year’s Best Editing. […]
Lawrence Silk, A.C.E., links his interest in documentaries to an early social consciousness, derived in part from his parents. As a teenager, Silk’s father had guided Eugene Debs through factories near Pittsburgh and, when they moved from Detroit to New York’s Washington Heights, Silk was well aware of the plight of the German Jewish refugees from the war, who were his classmates. […]
Of the many crafts essential to making movies, only editing came into existence because of the medium itself. […]
In 1970, as an apprentice in the cutting room of Richard Marden, editor of Sunday Bloody Sunday, we were a happy bunch; Dick, two assistants and myself. Now, as a motion picture editor, I’m mostly by myself, only sharing occasional intense sessions with the director and/or producer. […]
The ever-accelerating pace of technological development is literally putting the tools of post- production into the palms of our hands. The dramatic spread of Apple’s iPad has stirred software designers to create new applications combining Internet cloud technology and post-production work procedures. […]
Picture editors’ storytelling skills are tested in animation to a degree rarely demanded in any other kind of film. In live action, they may come on to a project to consult and prepare before production begins, but their work usually begins when the cameras start rolling and footage comes into the cutting room. […]
The show-business career of Jeff Freeman, A.C.E., began on a terrifying note. At the age of four, he was plucked by his stepfather, director Arthur Napoleon, to appear in a movie co-written by his mother, Jo. Man on the Prowl (1957) may not have made any “best of all- time” lists, but the experience was memorable enough for young Jeff. […]
In his new film Fury, writer-director David Ayer takes a break from depicting violent crime to re-create a different kind of violence — that of warfare, as experienced by a five-man Sherman tank crew of the Second Armored Division near the end of World War II. […]
“I am attracted to real stories about real people with real problems, without layered-on artificial drama or melodrama. This runs through almost everything I’ve done.” – Alex Hall […]
Drone warfare “is not only topical, or even controversial; it’s something that many of us are ambivalent about. […]
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