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. […]
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. […]
“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 […]
“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 […]
“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 […]
“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 […]
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. […]
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. […]
More members attended our annual meetings on both coasts than have come in years (I hope it wasn’t the beer tasting alone!) and, apart from Board of Directors nominations, a long and lively discussion of working conditions occurred. […]
At the 68th Annual ACE Eddie Awards recognizing the best film editing of 2017 on January 26, the American Cinema Editors announced the winners. […]
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