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October 15, 2008, 6:13 pm
Nothing speaks like experience, so DV recently caught up with six working editors. Each took time out of their busy schedules to talk about the past, present and future of their favorite non-linear editing tools.
October 11, 2008, 6:07 pm
Editing is an integral part of creating suspense in a film—anyone who has seen Alfred Hitchcock’s Psycho (1960) can attest to that. For a film like The X-Files: I Want to Believe (whose creators were so intent on producing a suspenseful aura for its audience that only a very elite group of those involved were given full scripts), having a skilled editor was crucial to its success. It made perfect sense when the moviemakers behind the film called in Richard A. Harris, an editor with plenty...
October 11, 2008, 6:05 pm
Just when we thought Premiere Pro for Mac or Windows was about as packed with features as it could get, Adobe has put even more actually useful niceties into the CS4 version of the venerable editing application. Building on its strengths of smooth interaction with other members of the Adobe club of apps, Premiere Pro included functionality and feature sets that were sorely needed in previous versions. There are also some unexpected surprises within the mix.
October 9, 2008, 5:57 pm
FORTY years ago, in the spring of 1958, Orson Welles's "Touch of Evil" was released by Universal as a B picture, the second half of a double bill. (The A picture was "Female Animal," a now-forgotten vehicle for Hedy Lamarr.) Neither picture attracted much attention, although some reviewers were intrigued by Welles's first studio work in 10 years. Unfortunately, it turned out to be a commercial and critical disappointment, and Welles -- only 43 at the time -- returned to Europe and never made...
October 9, 2008, 5:56 pm
One part painter, two parts prestidigitator, Walter Murch is, quite simply, one of our greatest living motion picture editors. He has a long and storied career as both a picture and sound editor, and has authored one of the most insightful little volumes on film editing ever published. "Blink of an Eye" should be required reading for every film student.
October 9, 2008, 5:55 pm
The best editing does not call attention to itself and neither does Walter Murch. Soft-spoken and deeply philosophical, the renowned sound and picture editor could shamelessly flout credits that include "American Graffiti" and "The Godfather," for which he edited sound, "Apocalypse Now" and "The Conversation," for which he edited both picture and sound, and "The English Patient," for which he earned Oscars for sound and picture work. Instead, Murch keeps a low profile, operating from the...
October 9, 2008, 5:54 pm
It is often said that a movie is written three times: once, when the screenwriter commits the story to paper; again, when the director and actors commit the story to film; and finally, when the editor constructs the story in time. This crucial final telling of the story—the editing—is no less important than the other two, but is often the least discussed. As an independent moviemaker, I edited my own first feature film. As I prepare to direct my second feature, one in which I will be working...
October 9, 2008, 5:53 pm
Anne V. Coates has edited 48 films in as many years. Her first love was horses; as a girl, she thought she'd be a race-horse trainer. As a teenager, an introduction to classic literature on film, such as "Jane Eyre" and "Wuthering Heights," changed her mind. She took a job with a small non-union house, Religious Films, which led to her joining the union and working as a second assistant at Pinewood Studios. The first film she cut was "The Pickwick Papers." A self-described intuitive editor...
October 6, 2008, 5:50 pm
MICHAEL ONDAATJE IS THE AUTHOR OF EIGHT BOOKS, INCLUDING the novels In the Skin of a Lion, The English Patientand Anil's Ghost. During the filming of The English Patient, he came to know the film's editor, Walter Murch, and soon thereafter they began a mutual exploration of editing -- a series of conversations leading to The Conversations: Walter Murch and the Art of Editing Film, a book to be published by Knopf next month, and from which this article is freely adapted.
October 6, 2008, 5:48 pm
Walter Murch (WM): At the basic level, a transition is simply the process of changing from some state A to another state, B. What we should examine carefully is the degree of change, and our awareness of it. Change is happening all the time, though we are not always conscious of it. But without change there is no perception. This is somewhat of a paradox.
Gordon sits down with Michelle Miller to discuss the makeup of PEN15
Gordon sits down with Tony Kearns to discuss editing Black Mirror: Bandersnatch.
Jim Flynn and Gordon sit down to discuss the editing of The Haunting of Hill House.
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