Features
Game of Drones: Good Kill
Drone warfare “is not only topical, or even controversial; it’s something that many of us are ambivalent about. […]
Picture Editors
Features
The Wide, Wide West
When director Quentin Tarantino visualized his newest revenge Western, The Hateful Eight, as a 70mm widescreen production, sold it to distributor The Weinstein Company as such, and eventually upped the vintage widescreen aesthetic further by unearthing vintage lenses at Panavision and filming it in a format that Hollywood had not even attempted to use in almost 50 years — Ultra Panavision 70 — his intent was to make a piece of cinema that was a throwback to the rich, special- event theatrical spectacles of the analog era. […]
Features
Not Your Grandfather’s ‘Roots’
“Behold Kunta Kinte.” If those words ring a bell, you were around for Roots, one of the most forward-thinking and groundbreaking events in the history of television. […]
Features
Hitting the Century Mark
Some Thoughts from The 100 Club’s Newest Member
When I passed the mark of 100 episodes edited on a single, one-hour show, NCIS, last September, my curiosity got the best of me. I wondered how many others had crossed this mark as well, so I had to do some digging. […]
Features
Julia Wong Gets ‘The Last Word’
As the new comedy The Last Word premiered at the Sundance Film Festival January 24, editor Julia Wong, ACE, was recalling to CineMontage what a great experience she had cutting the movie. “Director Mark Pellington was a great collaborator and so much fun to work with,” she says. “We hit it off right away.” […]
Features
Lillian E. Benson –
A Force of Nature with a Heart of Gold
by Betsy A. McLane • portrait by Wm. Stetz Making a mark on the art of picture editing early in […]
Features
Three of a Kind on ‘The Deuce’
Editors Alex Hall, Kate Sanford & Matthew Booras
Acclaimed writer-producer David Simon’s production company has delivered multiple hit series for cable television, most recently for HBO. During that time, he has built a team of picture editors who have been working together for over a decade. […]
Features
Deconstructing Woody
The year was 1976. The place was the New York brownstone of editor Ralph Rosenblum, ACE. And the film was Woody Allen’s Annie Hall, released the following year to wide acclaim and four Oscar wins. One day after work, Allen and Susan E. Morse, ACE — later his main editor, then an assistant editor — found themselves leaving the cutting room at about the same time. […]
Features
Wishful Shrinking
In a CNN.com article about picture editor Kevin Tent, ACE, on the occasion of his Academy Award nomination for cutting director Alexander Payne’s “The Descendants” (2011), actress Laura Dern was quoted as saying of the editor: “Kevin’s art lies in the genius of trusting human beings.” […]
Features
‘Wonder’ Woman
Over the past two decades, editor Alisa Lepselter, ACE, has worked on a range of films. Her credits include a caper set in the cookie business, a farce focused on a filmmaker afflicted with blindness, and a crime story populated by England’s upper classes. […]
