Features
Editorial ‘Argo’-naut William Goldenberg
Ben Affleck has a “particularly clear mind” when it comes to the editing process and understanding his editor’s needs while he is shooting, according to William Goldenberg. […]
Picture Editors
Features
Romancing a Trilogy: Sandra Adair Edits ‘Before Midnight’
“Before Sunrise was the second film I edited for Rick, and it was also the first film I ever cut on an Avid… I was confronted with the challenge of starting right in on the cut with Rick and learning to use the Avid at the same time. It was an interesting few weeks at first!” – Sandra Adair, A.C.E. […]
Features
Michael Kahn and Steven Spielberg
Still Thinking Analogue in a Digital World
It was bound to happen, eventually, that Steven Spielberg would finally embrace the Avid. […]
Features
The Wall Street Shuffle: Pete Beaudreau’s Stock Rises with ‘Margin Call’
Pete Beaudreau spoke to CineMontage about ‘Margin Call’ and his career path. […]
Features
Sally Forth Menke’s ‘Glourious’ Editing
for Quentin Tarantino
Sharp dialogue. Splintered chronology. Bursts of extreme violence. Must be Quentin Tarantino. Sally Menke, A.C.E. has been there every step of the way… providing the brilliantly bold cutting for all of the director’s films. […]
Features
Navigating the Changing Waters:
TV Editors Discuss the State of Their Craft
A handful of television editors at different stages in their careers recently sat down with CineMontage to discuss the past, present and future of editing for TV. […]
Features
Concertmaster: It’s All Rock ‘n’ Roll
to Editor Mitch Jacobson
Jacobson worked as a freelance director/cameraman shooting for ten years, until he discovered the Avid in 1994. That’s when he began editing. When Jacobson moved to New York, and reconnected with producer Mark Haefeli, his career in big-event, multi-camera editing really took form. […]
Features
Pacific Overtures: A Few Good Editors Enlist for HBO Miniseries
“Sometimes, hearing another editor comment on your work in an open forum and having him tell you he sees a problem and how he thinks it should be fixed, can be a little uncomfortable, but it was all for the greater good. The bottom line is that the entire miniseries improved greatly after that.” […]
Features
The Look of ‘Michael Clayton’
John Gilroy, A.C.E., had to make sure the audience stayed inside the characters, while creating a subtle build-up of tension throughout. […]
Features
Slave to the Rhythm: Niven Howie
“I let the actors’ eye movements guide my cuts. When an actor looks to someone else, I wait until they’ve looked, then cut to where they’re looking. It’s a simple thing, but when it’s not done right, it feels very weird.” – Niven Howie […]
