The Making of a Motion Picture Editor
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What does it take to be a motion picture editor? Learn from some of the most decorated editors in motion picture history over the span of 551 films, 360 Academy Awards ® and another 785 nominations. From Apocalypse Now to West Side Story. From the suspense of The Silence of the Lambs to the comedy of Ferris Bueller’s Day Off. From the realism of Saving Private Ryan to the universe of Star Wars. And the challenges: How do you get through 450 hours of material to make a three-hour movie? What happened behind the scenes, in the editing room, when it became apparent that the lead actor wasn’t working out? How do you make a release deadline when you still haven’t seen the visual effects you need to adjust scenes? What is it like when the director looks at the scene you just edited and says, “Do you have any idea what we went through there? How could you do this?” And then leaves.<br /><br /><b>And, in the stranger than fiction department:</b><br /><br /><i>You wind up working for one of the most famous directors in motion picture history based on a five-minute conversation where he asks you, “Are you a good editor?” And, so far, you win three Academy Awards® for editing.</i><br /><br /><i>You write a letter to the producer telling him that you just got married and you can’t do the film. But you never send that letter. And then you win an Academy Award for Lawrence of Arabia.</i><br /><br /><i>You find yourself editing West Side Story for the director who edited Citizen Kane.</i><br /><br /><i>And the life of an editor? You don’t think about a nomination and you get nominated. You know there’s absolutely no chance you’ll win, and you do. You thank your family. You forget to thank them. You go right back to work the next day. You wait for a year until the next job comes.</i><br /><br /><i>An editor’s responsibility is not, as many have thought, “to cut out the bad parts”, but to form and shape the material according to the director’s vision in support of the story. Editing is based on decisions—hundreds, thousands—and everything you see and hear has a decision behind it.</i><br /><br /><i>Read on about these remarkable individuals and their stories in The Making of a Motion Picture Editor.</i>
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Thomas A. Ohanian. The Making of a Motion Picture Editor
Introduction
A Brief History of Motion Picture Editing
Videotape Editing
Electronic Nonlinear Editing Systems
The Laserdisc-based Systems
The Digital Nonlinear Systems
Dede Allen, ACE
Via Email
Kirk Baxter, ACE
Los Angeles, CA
John Bloom
London, England
Françoise Bonnot
Paris, France
David Brenner
Los Angeles, California
Conrad Buff, ACE
Los Angeles, California
Richard Chew, ACE
Los Angeles, CA
Jim Clark
London, England
Anne V. Coates, ACE
Los Angeles, CA
Steven Cohen, ACE
Los Angeles, CA
Scott Conrad, ACE
Los Angeles, CA
Joel Cox, ACE
Los Angeles, California
Gabriella Cristiani
Los Angeles, CA
Chris Dickens, ACE
London, England
Glenn Farr
Los Angeles, CA
Lisa Fruchtman, ACE
Los Angeles, CA
Mark Goldblatt, ACE
Los Angeles, CA
William Goldenberg, ACE
Los Angeles, California
Jerry Greenberg, ACE
Los Angeles, California
Richard Halsey, ACE
Los Angeles, California
Gerry Hambling, ACE
London, England
Dan Hanley, ACE & Mike Hill, ACE
Greenwich, CT
Richard A. Harris
Santa Ynez, CA
Alan Heim, ACE
Los Angeles, California
Paul Hirsch, ACE
Los Angeles, CA
Chris Innis, ACE
Los Angeles, CA
Michael Kahn, ACE
Los Angeles, California
Lynzee Klingman, ACE
Los Angeles, CA
Sylvie Landra
Paris, France
Carol Littleton, ACE
Los Angeles, CA
Marcia Lucas
Hawaii
Richard Marks, ACE
Los Angeles, California
Craig McKay, ACE
New York City, NY
Stephen Mirrione, ACE
Los Angeles, CA
Walter Murch, ACE
New York City, New York
Thom Noble
Los Angeles, CA
Bill Pankow, ACE
New York City, NY
Tom Rolf, ACE
London, England
Stephen Rotter
Westbrook, CT
Christopher Rouse, ACE
Los Angeles, California
Pietro Scalia, ACE
Los Angeles, CA
Arthur Schmidt, ACE
Santa Barbara, CA
Jamie Selkirk
New Zealand
Tim Squyres, ACE
New York City, NY
Zach Staenberg, ACE
Los Angeles, CA
Thomas Stanford
Santa Fe, New Mexico
Neil Travis, ACE
Los Angeles, California
Michael Tronick, ACE
Los Angeles, California
Angus Wall, ACE
Los Angeles, CA
Martin Walsh, ACE
London, England
Hughes Winborne, ACE
Greenwood, Mississippi
Отрывок из книги
Although I had written textbooks on Digital Nonlinear Editing and Digital Filmmaking, it’s not as if I woke up one day and decided to do a book on motion picture editors. Rather, after decades of meeting some of the most accomplished editors in the world, I began thinking of all the experience, guidance, and advice that they could impart to a reader. I had, in the past, spent time preserving oral testimonies (from Armenian Genocide survivors) and historical music recordings. And the process of transferring analog audio and video tapes to digital, cleaning, normalizing, editing, and even writing liner notes, was enjoyable because the result was the preservation of historical experiences. And that was my only thought—preserving the experiences of these gifted artists.
Here were craftspeople who have edited some of the most famous, beloved films in the world. What happens when they pass away? What could they impart to aspiring editors? What had they learned—both positive and negative? And who would I interview? I had to adhere to some criteria and after some time it seemed somewhat logical to try and interview every Academy Award Best Editing recipient, either active or retired. Sure, there are BAFTA, César, Golden Bear, but that Oscar statuette—let’s face it—is recognizable all over the world.
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FB: It remains a remarkable film. And I think it also helped Americans because it told the story through the eyes of just an ordinary, American middle-class family. And I thought it was such an intelligent way of telling the story.
TO: And this was 16 years before the truth finally was revealed to the world about these thousands and thousands of people who had gone missing.
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