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January 23, 2013, 2:34 pm
Craig McKay is one of the editors of the film, along with Reynald Bertrand, built, in his words, in the editing room. This entry is the appetizer for the following translation I am preparing What do you have to do? That is an interview with an editor of a documentary without dialogue. Enough said. Well, come on, say that the documentary is the host, which is the last I've seen and that the interview is a real source of knowledge. For now, I leave you with babies, it's very funny...
January 20, 2013, 3:55 pm
Editing is a subjective art. One person's brilliance is another's contrivance. There are many ways to the same end, but the end is telling a story. Telling it clearly, concisely, smartly. Tony Scott directed some of the most interestingly told stories I've seen. Top Gun was an action movie that never confused who was where...
January 18, 2013, 1:14 pm
William Goldenberg, A.C.E., enjoyed his stint on Ben Affleck’s Argo as a comfortable return to a budding collaborative relationship that he began with Affleck in 2007 on the filmmaker’s first movie, Gone Baby Gone (2007). His schedule didn’t permit him to work on Affleck’s second directorial effort, The Town (2010), but Goldenberg was ecstatic to reunite with him for Argo.
January 17, 2013, 6:49 pm
Norman Holly, editor, author, and professor sat down with Gordon to discuss two new job positions that have opened up at USC, what’s required for these positions and his approach to teaching. If you are interested in applying go to www.uscfilmediting.wordpress.com.
January 17, 2013, 12:31 pm
In some ways, the job of film editors is to make their work invisible. They hope that audiences don’t notice the editing and see only that a clear path has been drawn to the heart of the film’s story.
January 15, 2013, 2:42 pm
DALLAS—Continuing to grow its creative staff, Dallas editorial boutique Treehouse has hired editor Jayson Limmer. Formerly with 3008, Limmer arrives with more than eight years of experience in cutting spots for agencies in Dallas and other markets, and credits that include such brands as Charter, Western Union, Gamestop, Red Lobster, HEB and Zales.
January 13, 2013, 8:00 pm
Unlike the frequent depressing statistics on female directors or cinematographers, editing is one creative role in cinema where women have traditionally held their own. From “E.T.” to “Lawrence of Arabia”, numerous big budget, studio films have been cut by women, with legends in the field including Thelma Schoonmaker, seven-time Oscar-nominated editor of Martin Scorsese’s films, and Sally Menke, editor of all Quentin Tarantino’s films and described by him as his “only truly genuine collaborator”
Gordon Burkell sits down with Beth Morgan to discuss the costume design for GLOW.
Gordon Burkell sits down with Tanya Swerling to discuss her work on the show GLOW.
Gordon Burkell sits down with Bill Turro to talk about the editing of GLOW on Netflix. This is the first in a three-part seri ...
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