It is with a heavy heart that we announce we will no longer be updating Aotg.com. Back in 2007, when we started, there was a lack of access to information about film, television, and commercial editing. We wanted to fix that by creating a central location for content about editing to be stored.
Since then, we've watched the amount of content about editing on the internet grow exponentially. We've also watched social media tools come and go with that growth. Does anyone remember Google Wave!? These social media tools changed how people access and search for media and information. People tend to turn to Facebook, Youtube, Twitter, and Instagram for their news and information, and those are all great tools to promote your sites, but as a site that aggregates links to other sites for users, it just doesn't work for us.
We will keep the site live but archive the ability to add links and comments. We will keep our database live with the links for those who desire to use it to search for editing information and research.
Our podcast, The Cutting Room, will move over to the Filmmakeru.com website and will continue to be a place for interviews with editors and other film professionals.
Everyone who worked for Aotg.com loved what we created and are proud that we could help so many editors find content that spoke to them.
I look forward to seeing everyone at the various post events worldwide in the coming years!
Yours truly,
Gordon Burkell
Aotg.com Founder
March 5, 2011, 04:28 PM
https://www.aotg.com/roger-crittenden-and-mick-audsley-discuss-editing/
Roger Crittenden and Mick Audsley discuss why you shouldn't cut for Continuity and their reasons for cutting.
March 4, 2011, 10:31 AM
http://digitalfilms.wordpress.com/2007/06/16/inter...
Chris Dickens, the film’s editor is key to this visual style. Dickens graduated from the Bournemouth Film School in 1990 and started his career as a film and linear editing assistant in television documentaries at Channel 4 and the BBC in Britain. He got his early editing break by cutting comedies and later moved on to dramas.
March 4, 2011, 10:29 AM
http://www.examiner.com/alternative-movie-in-los-a...
Back in 2004 I had the pleasure of meeting Sally Menke at her home to discuss film editing. She was just fresh off her work on Kill Bill and was getting ready to fly out to London for a BAFTA nomination. She was also in the middle of moving to New York, boxes scattered throughout her living room. I was then writing for a trade magazine with a focus on editing. Ms. Menke and I chatted for a few hours and the result was the below interview. Unfortunately, due to space limitations and a change...
March 3, 2011, 09:21 AM
https://www.editorsguild.com/FromTheGuild.cfm?From...
On a chilly Oscar eve Saturday morning with many Academy Awards-related festivities going on around town, the American Cinema Editors (ACE) held its 11th annual Invisible Art Visible Artist Seminar with the Academy Award-nominated picture editors at the Egyptian Theatre in Hollywood.
March 3, 2011, 09:21 AM
https://www.editorsguild.com/FromTheGuild.cfm?From...
As award season madness reached fever pitch, editor Kirk Baxter chuckled that about having a "strange" experience this year—earning his industry’s highest honors for his editing work. He and Angus Wall, A.C.E., his co-editor on The Social Network, are more used to sitting there and not winning, Baxter said, chuckling, a couple days after they took home an Eddie Award for Best Edited Dramatic Feature Film from the America Cinema Editors’ 61st annual Eddie Awards in mid-February.
March 2, 2011, 09:49 PM
http://www.vanityfair.com/online/oscars/2011/02/th...
Even the biggest The King’s Speech-backer must concede this: Whittling Aaron Sorkin's 160-page script down to a tight two hours was a stunning achievement. To date, the film’s editors, Angus Wall and Kirk Baxter, have earned themselves an Eddie, the field’s top honor, but this weekend they may just snag an Oscar, too. (Update: They did it!) Little Gold Men spoke with Baxter and Wall about director David Fincher’s process, the digital revolution, and why editing is like rifling through so...
March 2, 2011, 11:36 AM
https://www.aotg.com/episode-51-ken-sallows-interview-part-1/
Ken Sallows is one of the top film editors in Australia and has worked on such critically recognized films as Chopper and Proof. He also played a major role in getting Murch's In The Blink of an Eye published.
March 2, 2011, 09:40 AM
http://postfifthpictures.com/2011/03/the-modern-ed...
I have a problem with what people think is the Modern Editor. The one I speak of is the self taught, do it yourself, do it all, one stop shop who has not learned through others while ignoring pre established workflow patterns.
March 1, 2011, 08:38 PM
http://splicenow.com/2011/03/01/sally-menke-interv...
Elvis Mitchel has posted a thoughtful, sensitive interview with editor Sally Menke this week for his LA-based show "The Treatment." Elvis is something of an LA institution, operating out of KCRW. His interviews are consistently penetrating, and this one is no different. Having helped run the Editors Guild Magazine for four years, I can tell you that it’s not an easy thing to interview editors with respect and without resorting to a host of cliches. This one does both.
March 1, 2011, 08:37 PM
http://www.kcrw.com/etc/programs/tt/tt110228sally_...
An editor is as important a component of a movie as the director. They often serve the function of sounding board and collaborator. Sally Menke was just that person. She worked with Quentin Tarantino on all of his films, starting with Reservoir Dogs. He was fond of saying that their teamwork was such that they finished each others sentences.
Daniel George McDonald sits down to discuss creating the finale for Cheer Season 2.
Gordon sits down with the editorial team of The Black Lady Sketch Show to discuss their approach to ...
Gordon sits down with Philip to discuss his work with Tyler Perry and his latest film A Madea Homeco...
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