Two nominees for film editing are dramas with definitively distinct styles. "12 Years a Slave" takes a classical approach, while "Captain Phillips" employs an aggressive, modern method. "12 Years"…
“Dallas Buyers Club" and "American Hustle" feature distinct stories, but share approaches to the use of both drama and comedy to tell them. The trick, their editors say, is rooting them in reality…
For Mark Sanger, editing "Gravity" involved a process different from that of any other film he's worked on. He cut the space adventure with director Alfonso Cuaron, employing a workflow where…
Gamblers and Academy Award handicappers have long known that Oscar has a "tell": There's a strong connection between editing and the best picture winner. Since editing became an Oscar category in…
Over the past 10 years, members of American Cinema Editors society and Academy of Motion Picture Arts and Sciences voters have shared winners for excellence in film editing in all but a few cases.
Precise choreography earns Steven Spielberg kudo from editors
"The main thing Larry Silk communicated to people was an excitement about this craft," says Geof Bartz.
"There's no romantic story" behind his start in film editing, Richard Marks says. "I was running film cans around New York. People would order 600 prints of a commercial, and part of my job was to…
William Goldenberg's training as an editor began long before film school, when he was flipping eggs and washing dishes at his father's Philadelphia deli.
"Life of Pi," Ang Lee's film about a boy adrift at sea with a hungry tiger, isn't a virtual production like "Avatar," but its 3D footage and CG animation and environments posed challenges for film…
Jay Cassidy, who is Oscar-nominated for editing David O. Russell's "Silver Linings Playbook," has edited both documentaries and narrative films. He describes the difference between the two forms as…