Features
Amman, with a Movie Camera: an Editing Workshop for Jordanian Film Students
The lights went up. The audience of eager editing students didn’t seem to know whether to weep or applaud. So they did both. […]
Picture Editors
Features
Love is the Drug: Steven Rosenblum Returns to His Romantic Comedy Roots
It’s funny how it has taken director Edward Zwick and editor Steven Rosenblum, A.C.E., eight films together to return again to their thirtysomething TV roots from the 1980s. […]
Features
Crossing the ‘Rubicon’ with New Workflow: Why Not Keep it All in the Cutting Room?
“Bring the work back into the cutting room” is the mantra of Terry Kelley, A.C.E. To save both money and time producing television shows and movies, picture editor Kelley has established a new workflow procedure that has proven successful on two television series—Showtime’s Brotherhood (2006-2008) and the conspiracy thriller Rubicon, which just finished its first season on AMC. […]
Features
Boxing Pamela: Editor Martin Goes the Distance on ‘The Fighter’ and Scores a TKO
If ever a single feature film illustrated the painstaking effort editors go through to bring disparate parts together to create a greater whole, David O. Russell’s The Fighter would be that film. […]
Features
Oscar’s Women
Although nowhere near as well represented as their male counterparts in the Academy Awards pantheon, women in post-production nonetheless gained recognition for their craft and brought home some Oscar gold. […]
Features
Life on Mars: Eric Zumbrunnen Cuts the Other-Worldly ‘John Carter’
Editor Eric Zumbrunnen, A.C.E., first became known for cutting music videos, like Spike Jonze’s award-winning clip for Weezer’s “Buddy Holly” and Björk’s “It’s Oh So Quiet.” […]
Features
Keeping the Story Moving: I. James Wilkinson (1897-1967)
Picture editor Irving James Wilkinson has unfortunately become the most obscure of the three original founders of the Society of Motion Picture Film Editors (SMPFE). Many sources, including the Guild’s own historical records (which were cited in the story on the beginnings of the SMPFE in the JAN-FEB 12 issue of this publication) had him confused with a similarly named contemporary, the sound editor James R. Wilkinson. […]
Features
Darrin Navarro, CineLinguist: ‘Killer Joe’ Editor Is Influenced by Precedents
Darrin Navarro came to editing via a familiar path: An interest in movies led him to film classes at Los Angeles City College. Within a week or two of seeing what could be done by manipulating the choice of moving images, he knew this was the job for him. […]
Features
Honor Thy Editor
As part of their ongoing effort to gain recognition and acknowledgement for picture editors, the Motion Picture Editors Guild and the American Cinema Editors (ACE) launched a Petition for the Recognition of Editors in late June. […]
Features
Still Loving ‘Lucy’
From the CineMontage archives, a 2009 interview with the award-winning editor, Dann Cahn, about the beginnings of the I Love Lucy show and the ground-breaking editorial requirements for the three-camera production. […]
