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November 13, 2012, 6:21 am
Tim started his working relationship with Ang Lee nearly 28 years ago when Tim was hired because they couldn't afford a real editor. As Tim described it, he "learned to edit by editing Ang Lee features". Asked how he and Ang work together, Tim emphasized it's the directors’ movie, not his. During first assembly, Tim will often cut while Ang is shooting, sending him cuts for feedback.
March 8, 2009, 12:17 pm
London. Rain. Tunnels. Brushing up against wet umbrellas. Giving directions to visitors when I am one myself. It doesn’t matter what country I am in, I must be a beacon, a target for those stranded looking eyes. I see their minds calculating and their bodies approach as they think I could be the one to indicate a direction to the left or right. I give a guess hoping I have pointed the woman in the right direction and then turn left to board the tube to meet up with Oscar-nominated editor...
March 7, 2009, 12:17 pm
Part V of my interview with Chris Dickens. In this segment I ask Chris if he had any indication that the film was going to be the worldwide phenomenon it has turned out to be. I also ask him what it is like to be in the center of the awards season vortex.
March 7, 2009, 12:16 pm
As editors, who often live with a film for an extended period of time, it becomes like one of your children. In this segment I ask Chris about sequences from Slumdog he is especially proud of, or ones that hold a special place in his heart. We talk about some of the directors he admires who have influenced him, his fondness for stories told in a non-linear way and how his director Danny Boyle encouraged him to take risks and try new ideas while cutting the film.
March 6, 2009, 12:15 pm
In Parts III and IV Chris and I go on to speak about technical issues and the fact that the film was a hybrid; shot on both 35mm film and digital. Chris cuts on the Avid, and the complexity of post production was compounded by the fact that the 35mm elements were shot 3-perf, a technique where the exposed image fills the entire surface area of the frame without any matte area or "wasted space". 3-perf is an excellent solution when shooting in 1:1.85 aspect ratio because it reduces the cost...
March 6, 2009, 12:14 pm
Here is Part II of my interview with Chris Dickens, award winning film editor of this year’s Slumdog Millionaire. In this installment I ask Chris how he connected with Danny Boyle and what were some of the of the more creatively challenging aspects of making the film.
March 6, 2009, 12:12 pm
Today we present Part I of a multi-part series with award winning film editor Chris Dickens. Chris is the recipient of this years "triple crown" of editing awards for his work on "Slumdog Millionaire", for which he took home the American Cinema Editor’s (A.C.E.) EDDY Award, the British Academy of Film an Television Arts (BAFTA) award and the Academy of Motion Picture Arts and Sciences, Academy Award.
March 6, 2009, 12:11 pm
Learn how Digital Vision and Avid provide the most complete and ultimate post production solutions for any RED camera project; close up and personal. With the participation of Ted Schilowitz, Leader of the RED Rebellion, these workshops will demonstrate a unique end-to-end solution for your next project.
March 6, 2009, 12:10 pm
Amid the pre-Oscar festivities, the American Cinema Editors (ACE) held its ninth annual Invisible Art Visible Artist Seminar with the Academy Award-nominated picture editors at the Egyptian Theatre in Hollywood on the eve of the Oscars. Moderated by Alan Heim, A.C.E., the seminar featured insightful conversation about their nominated films and their approach to editing.
Gordon Sits down with Christopher Tellefsen to discuss A Quiet Place.
Gordon sits down with Marcus Schioler, Antoine Rotondo, & Marc-André Ferguson to discuss the big announcement at A ...
Gordon sits down with Joe Walker to discuss Steve McQueen's new film Widows.
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