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. […]
Picture Editors
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 […]
Features
Lights, Camera, Edit!: Joel Viertel’s ‘Adjustment’ to Cutting On-Set
As the on-set, or reference editor, Viertel feels like he’s doing a service for the picture editor, to make sure he has all the resources mapped out the way he would want them. […]
Features
Pietro Scalia Maestro of Movie Editing Meets the Merrie Men of Sherwood Forest
Film combines all the art forms––drama, theatre, photography, dance, music, architecture––but editing is very special and specific to film. It was borne out of film; it didn’t exist before that. There’s no other art form like it. […]
Features
Gilroy was Here: The Editor Leaves His Mark on Michael Clayton
“Some directors will allow you to edit practically the whole film before they look at your cut, but I really hate to work that way. I think an interactive relationship with a director from the beginning is key.” – John Gilroy […]
News
The Magnificent Seven: Oscar-Nominated Editors Discuss Their Art and Craft
“The interesting thing with Chris Nolan, the director, is that his idea is never to cut with music––to force you to be selective and to make all of the hard decisions.” – Lee Smith […]
Features
Editing on Another Planet: John Refoua and Stephen Rivkin
“By the time we were going to camera, we were already dealing with all the best performances… We had to come up with a whole new language of terms—combos, stitches, FPR, loads, etc.––all invented on this production.” -Stephen Rivkin […]
Features
Coates Quotes
“Hugh Hudson is a brilliant and underrated director, but very difficult to work with. He didn’t cooperate with the studios; he was cutting out the stuff they wanted in and vice versa.”-Anne V. Coates […]
Awards
Oscar’s Favorite Picture Editors 2018
The 2018 Academy Award nominations for Best Achievement in Film Editing in 2017 focus on five distinctive approaches to movie storytelling, each with itsown effective rhythms and emotional tones. […]
Features
Replacing Kevin Spacey: Claire Simpson on
Re-Cutting ‘All The Money in the World’
The production and post-production of Ridley Scott’s ‘All the Money in the World’ is one of the most fascinating filmmaking stories of the past year, perhaps the decade. […]
