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Editing
Art of the Guillotine to Release New Editing App
There are constantly new innovations in the art of editing. In today’s fast-paced industry, it is essential to have the latest in editing news available on one Website, which is exactly the service that Art of the Guillotine provides. “AOTG aggregates, organizes and disseminates information for film editors,” says AOTG founder Gordon Burkell. To make things even more convenient, the site has recently launched an app that allows editors to access this information on the go.
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Louis Cioffi Dissects “Dexter”
Louis Cioffi, ACE, has found “Dexter” to be an enthralling assignment for the past four seasons. An award-winning editor for his work on the highly acclaimed series, Cioffi joined “Dexter” in 2007. Cioffi has worked extensively in network, cable and features and is currently working on independent film, Hidden Moon. Createasphere shared a recent interview with Cioffi about what it's like to cut the award-winning series.
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Manhattan Edit Workshop Goes Back to the Future
In the Six-Week Workshop at Manhattan Edit Workshop, students learn the art and theory of editing with the help of the school's Artists in Residence program, which brings in working editors to screen and discuss their work, sharing the lessons they've learned throughout their careers. This summer, Manhattan Edit Workshop welcomed Harry Keramidas, editor of all three Back to the Future films, to share the lessons he's learned throughout his career.
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Joe Walker Edits Life in a Day
Editing a narrative feature is difficult enough. The logistics of it have the potential to be frustrating--the clips aren't labelled well enough, so you can't find that one shot you really like, and when you do find it, you can't use it because Character A's hair isn't the same as in the rest of the scene. There's a dinner scene where Character B's eyeline is off, but you can't cut it because then the rhythm gets thrown off and Character B's confession to Character C in the third act makes no sense whatsoever. By the end of dealing with all the footage you have to, somehow, end up with a movie. Well, imagine editing a movie with no script, a movie where you didn't even know what sort of footage you'd be getting because it's all user-submitted. And that footage? Imagine there being 4,500 hours of it. Those were some of the challenges faced by Joe Walker, editor of Life in a Day.
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Angus Wall and Kirk Baxter Cut The Social Network
Angus Wall and Kirk Baxter are having a good year. Their work editing David Fincher’s The Social Network garnered them both Oscar and Eddie nominations.
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Anne McCabe Steps To The Ledge
Anne McCabe has edited comedies (Greg Mottola’s Adventureland) and dramas (Joshua Marston's Maria Full of Grace), but with Matthew Chapman's The Ledge, debuting at Sundance, she has made her move into the thriller genre.
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Get Free Stock Footage From Footage Firm
Say you're an indie director who needs some footage of fireworks.You probably don't have the time and money to go out and film that yourself. That's where stock footage companies come in.
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Learn From the Best at EditFest NY
The 2010 EditFest NY, presented by American Cinema Editors (ACE) and the Manhattan Edit Workshop, will give editors and those interested in editing the chance to learn from some of the best editors currently in the business.
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Marshall Curry Documents Newark and NASCAR
When Marshall Curry took a break from his job working for a Web design company so that he could make films, he had not been to film school nor had he received any formal film training; he went out, bought a camera and started shooting.
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Keith Reamer Cuts Amreeka
The prospect of working with a language foreign to one’s own would be a daunting challenge for virtually anyone. Yet, Amreeka, in which more than half the language is spoken in Arabic, was an adventure on which editor Keith Reamer was eager to embark.
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Editor David Michael Maurer has Audiences Shrieking with Splinter
Recent festival hit Splinter, a movie about a parasite that turns its victims into blood-lusting hosts, is a perfect example of how editing affects audiences’ reactions. Editor David Michael Maurer, an Emmy-nominated master of his craft, took an inventive approach when collaborating with director Toby Wilkins. Just days before Splinter took home six awards (Best Editing and Best Picture among them) at Screamfest, MovieMaker spoke with Maurer about his process and what inspires him to do what he does so well.
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Geoffrey Richman Is No Slouch in the Cutting Room
Editor Geoffrey Richman’s credits include some of the most respected documentaries of the past few years, including SiCKO, God Grew Tired of Us: The Story of Lost Boys in Sudan and Murderball.
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Geoffrey Richman: Things I’ve Learned as a Moviemaker
"Finish a first cut as fast as possible" and other lessons from the editor of SiCKO, If I Didn't Care and May the Best Man Win.
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Editor Chad Beck Cuts from the Heart
The editor of No End in Sight is looking for some action
For Chad Beck, the choice to become an editor was an easy one to make. Since his beginnings as a student at the New York-based Edit Center, Beck has taken to the art with a clarity that only comes from true passion.
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Alex Rodriguez’s International Language of Editing
The Oscar-nominated editor of Children of Men gets the final cut
With a recent Oscar nomination for Children of Men and his latest film, Gael García Bernal's Déficit, playing major festivals like Toronto and Cannes, French-born editor Alex Rodgriguez has become a vital part of the new wave of Latin American cinema.
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Cinematic Storytelling
Editing and sound are just two of the elements that can make any script more “cinematic”
From Citizen Kane to American Beauty, the history of cinema is filled with examples of "cinematic storytelling" - films that use the full complement of moviemaking tools to tell theis stories.
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Christopher Rouse: Things I’ve Learned as a Moviemaker
Story comes first. And last.
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One Day in September
Oscar-nominated editor Christopher Rouse reunites with director Paul Greengrass to retell the events of September 11th in United 93
From bringing the world's last pregnant woman to safety in a post-apocalyptic London to sniffing out a rat in Boston's Irish mob, this year's collection of Oscar-nominated editors were faced with a host of tough obstacles. But no editor had as difficult a challenge as Clare Douglas, Richard Pearson and Christopher Rouse, the trio of editors who were tasked with the delicate duty of cutting Paul Greengrass' United 93.
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Things I’ve Learned As A Moviemaker
One piece of advice I give to people of both sexes in this business is don't let anyone abuse you-life is too short.
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Walking the Tightrope
Longtime David Lynch producer/editor Mary Sweeney talks about their latest collaboration, Mulholland Drive
Beginning her career as an apprentice sound editor on Reds, Mary Sweeney began her now more than 15-year editing and producing collaboration with David Lynch on 1986's Blue Velvet. With their latest film, Mulholland Drive, in theaters across the country, Sweeney talks about her relationship with one of the world's most original directors and the struggles of being a woman in a man's industry.
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Apocalypse Now and Then
A Conversation With Editor/Sound Designer Walter Murch
Editor/Sound Designer Walter Murch has worked with some of the film industry's most talented directors and stood alongside each one as an equal collaborator. With eight Oscar nominations to his credit and three wins, he has proven himself a true master of his craft. Here, he talks with MM about about the digital revolution, the challenges of a dual career and how his Apocalypse experience defined his life as an editor.
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What I’ve Learned as a Moviemaker
When you're the editor, you're not the director. You didn't conceive or shoot the film. When the footage for a scene arrives, try to forget every notion you had about what the scene was supposed to be like and take all your cues from the film that was actually shot. There will be time later to try to push the scene in some other direction, but it's important for me to not have a plan, and to simply find the scene in the footage.
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Breaking Away
Editor Tim Squyres on his longtime collaboration with Ang Lee and his latest work on Robert Altman's Gosford Park
If Tim Squyres' name is not immediately recognizable, most of the features he's edited in the past decade are: Eat Drink Man Woman, The Ice Storm, Sense and Sensibility and Crouching Tiger, Hidden Dragon are four of Squyres' collaborations with director Ang Lee.
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Things We’ve Learned as Moviemakers
Decisiveness. Confidence. Being able to set your ego aside, because an editor doesn't always get stroked a lot. Most things you hear are criticisms. So you need to have a thick skin and not take things personally. That's a crucial thing for an editor to learn.
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Hill and Hanley: Twenty Years of Continuity
Ron Howard's editors discuss their longstanding collaboration
Film editors Mike Hill and Dan Hanley have a lot to celebrate
these days, including the fact that their baby, A Beautiful
Mind, just won the Best Picture Oscar. This prolific duo
of veteran cutters just marked their 20-year anniversary as
partners in the cutting room, almost exclusively for director
Ron Howard.
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Things I’ve Learned as a Moviemaker
Choosing projects is kind of harrowing because editing a feature is a huge time commitment (six months to a year). I try to take on projects with people that I like spending time with and whom I feel can help me learn or grow. It has to be something that's going to stretch my boundaries as an editor and as a person.
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The Tao of Steve
Steve Hamilton, longtime editor for Hal Hartley, talks about their latest collaboration, No Such Thing
Containing a virtual who's who of the New York independent
film community on his resume, editor Steve Hamilton has worked
with Michael Almereyda (The Rocking Horse Winner),
Ang Lee (Sense and Sensibility) and Bart Freundlich
(The Myth of Fingerprints). Since 1990, his most frequent
collaborations have been with Hal Hartley. Hamilton
is also the founder of Spin Cycle Post, and pioneered the
use of AVID technology for post-production on low budget features.
He currently runs his own digital editing facility, Mad Mad
Judy, in New York City.
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Things I’ve Learned as a Moviemaker
It takes a lot of devotion and love to make a film, and it is hard work. It just becomes more fun if you love what you're working on and you enjoy the people you're spending those long hours with.
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The Thrill of Living on the Edge
A Conversation with Insomnia Editor Dody Dorn
After working a number of production positions, including
assistant to the producer, script supervisor, and assistant
location manager, Dody Dorn found the place that suited
her best was in the cutting room. She received an Oscar nomination
earlier in the year for her work on Christopher Nolan's Memento
and she's teamed up with him again for the crime-thriller
Insomnia, in theaters now.
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Things I’ve Learned as a Moviemaker
Always fight for what you believe in.
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The Power of Positive Friction
A Conversation with Editor Saar Klein
After serving as the post-production intern on Oliver Stone's
JFK, editor Saar Klein's resume has grown to include
collaborations with some of the film industry's most celebrated
directors, including Terrence Malick on The Thin Red Line
and Cameron Crowe on Almost Famous. Most recently,
Klein teamed up with director Doug Liman to cut the eagerly
awaited The Bourne Identity, at theaters now.
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Things I’ve Learned as a Moviemaker
We all started working together when we first got out of film school, and I've worked with many of the same people ever since. It's not so much about climbing over the wall to get into the film business; you just get a group of people and walk through the front gate together. And that makes it a lot easier than going one by one.
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Getting the Acting Right is What Counts
Performance-driven films suit One Hour Photo Editor Jeffrey Ford
Performance-driven films suit One Hour Photo Editor
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Things I’ve Learned as a Moviemaker
AVID] really does allow you to try a lot of different things and to experiment. However, I'm glad I have the discipline of film, where you work on a scene until it works. It's like practicing an instrument: you do it again and again until it works. It's not about slapping it together. Unfortunately, too many films are cut that way today.
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An Orgy of Filmmaking
An Interview with Editor Carol Littleton
Some people plan and scheme for years about how to
forge a career in the film business. For a lucky few, it's
almost a divine accident. Such is the case with editor Carol
Littleton, who has collaborated with high-profile
directors like Jonathan Demme, Robert Benton and Lawrence
Kasdan during her long career. Her latest picture, Demme's
The Truth About Charlie, cut in the French New Wave style,
gave her a new kind of freedom she says she'll take with her
in the future.
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