To The Aotg.com Community,
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
The Thrill of Living on the Edge
August 29, 2010, 10:30 AM
http://www.moviemaker.com/editing/article/the_thri...
Dody Dorn grew up with the film industry in her blood. Her father worked as a set builder/designer and later as a movie producer. She was still in high school when she began working at his sound stage, Hollywood Stage, where she made the contacts that would ultimately allow her to find work in her chosen field--motion picture editing.
Cutting For Quentin: An Interview with Sally Menke
August 27, 2010, 11:21 AM
http://orangecow.org/articles/sallymenke.html
Sharp dialogue. Splintered chronology. Bursts of extreme violence. Obscure film references. Quentin Tarantino burst onto the American film scene in the early 90s, like an adrenaline shot to the heart. He won an Oscar and a BAFTA for the screenplay to Pulp Fiction (with Roger Avary), and was nominated for Best Director, with BAFTA nominations for Best Director and Best Film. Editor Sally Menke was nominated for the Oscar and BAFTA, and has been there every step of the way, providing the brilliant
Scene Breakdowns: The Wild Bunch part 1
August 26, 2010, 03:27 PM
http://glenmontgomeryiii.com/http:/glenmontgomeryi...
First off I have to apologize. In my excitement to start doing these breakdowns I chose a scene from a movie I had seen in the last couple days. That is not why I am apologizing. I have gained a lot from doing this exercise; there is a lot of power in analyzing something shot by shot that you don’t get from just watching the scene play out as a part of the whole feature and even from watching the scene over and over by itself. I am apologizing because it’s a long one.
The Power of Editing
August 25, 2010, 05:59 PM
http://splicehere.org/2010/07/25/the-power-of-edit...
With all the coverage we saw last week of the Shirley Sherrod story, one thing stands out for me: the whole episode, the truncated video, the firing, the rehiring, the apologies — it’s all an object lesson in the power of editing, not just to change movies, but to change lives.
Cutting For Impact: A Conversation W/ Verna Fields
August 25, 2010, 12:10 AM
http://www.fathom.com/feature/122531/
In 1975, Verna Fields won an Oscar for her work editing Jaws, largely due to her discovery that what viewers created in their heads could be much more frightening than what they could have seen on the screen. By editing around the shark, Fields maximized suspense by postponing the viewer's encounter until the third act.
Tina Hirsch Variety Bio
August 25, 2010, 12:08 AM
http://www.variety.com/article/VR1117855804.html?c...
A member of the American Cinema Editors member for more than a decade, Tina Hirsch made a name for herself working for Roger Corman during the '70s. She has since worked with such filmmakers as Joe Dante and Steven Spielberg and has received an ACE Eddie award and an Emmy nom for her work on NBC's "The West Wing." However, as ACE prexy, she has turned her attention to educating both filmmakers and the public about the increasingly significant creative contribution made by editors in the...
Life, Luck and LA Led to a Career Launch
August 25, 2010, 12:07 AM
http://www.editorsguild.com/V2/magazine/archives/0...
Growing up in Connecticut, I had no idea how movies were made. I thought that they just "happened." Although I remember watching television with my mother who would occasionally say, as the credits flicked by, "Oh, I knew him when he was a press agent." I remember thinking how great it would be if one day, when I grew up, I would be lucky enough to know someone whose name was in the credits. I never went to film school. I studied Art History at Boston University. I did, however, religiously...
Editors Unite to Inform the Next Generation
August 25, 2010, 12:06 AM
http://tinahirsch.com/images/editfest_2008.jpg
An article from the first Edit Fest in 2008, posted on Tina Hirsch's Site.
ACE taps 'Wings' Hirsch new prexy
August 25, 2010, 12:04 AM
http://www.variety.com/article/VR1117785181.html?c...
Originally Written in 2000: The American Cinema Editors have named veteran editor Tina Hirsch president, marking the first time in its 50-year history that a woman has headed the organization. Hirsch, currently one of three editors on NBC's "The West Wing," will serve a two-year term. Her credits over the past 20 years include the pilot of "Party of Five," the miniseries "A Will of Their Own" and features including "Dante's Peak," "Honey I Blew Up the Kid," "Delirious," "Gremlins," "Twilight...
Film Crew Flashes Back to the Making of 'Wood
August 24, 2010, 11:58 PM
https://www.editorsguild.com/Magazine.cfm?ArticleI...
In late October, the Academy of Motion Picture Arts and Sciences in Beverly Hills staged one of the most entertaining events in its "Oscar’s Docs" series: a two-night tribute to Michael Wadleigh’s Woodstock, the 1970 Best Documentary Feature winner. Woodstock also marked the first and only time in Academy Awards history that a documentary was nominated for Best Sound (Dan Wallin, Larry Johnson), and one of just two feature documentaries nominated for Best Editing (Thelma Schoonmaker), the...
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