Red Rob Feld's article on Manhattan Edit Workshop and Bobbie O'Steen's "Inside the Cutting Room" event featuring editor Stephen Rotter.
Post Script: 'Moonrise Kingdom,' 'Black Swan' editor Andrew Weisblum
Manhattan Edit Workshop launched its “Inside the Cutting Room” series last month with a sit down with editor Andrew Weisblum, ACE. Hosted by author/film historian Bobbie O’Steen, the two-hour event looked at Weisblum’s career as a film editor and his relationships with two very different directors: Wes Anderson (The Darjeeling Limited, Fantastic Mr. Fox, Moonrise Kingdom) and Darren Aronofsky (The Wrestler, Black Swan).
Cutting for Story: Editor Andrew Weisblum in Conversation - Filmmaker Magazine
Thelma Schoonmaker and Martin Scorsese. Walter Murch and Francis Ford Coppola. Tim Squyres and Ang Lee. For many an editor, these longtime creative partnerships represent the most alluring and elusive of career ideals. For editor Andrew Weisblum, that ideal is well on the way to becoming a reality — twice over. Since 2007, Weisblum has cut all of both Wes Anderson’s and Darren Aronofsky’s feature films, ranging in style from the witty charm of Fantastic Mr. Fox to the demented psychodrama of Black Swan (for which Weisblum was Oscar nominated). Kicking off this year’s Manhattan Edit Workshop series “Inside the Cutting Room With Bobbie O’Steen” with an evening of clips and conversation last week, Weisblum reflected on his collaborations with these dramatically different directors. It was a study in opposites that proved again and again that it’s story, not style, that makes the editor.
Picture Editors In The Spotlight - Editor's Guild Magazine
ON June 8 and 9, the American Cinema Editors and Manhattan Edit Workshop held the fourth annual EditFest NY at the Directors Guild Theatre in Manhattan. Well-known editors from the worlds of documentary, features, and television presented five Q & A panels and stayed for informal chats with the audiences. They also attended a cocktail party at Le Parker Meridian Hotel Friday night.
Edit Fest 2012: Pros discuss their inspiration
EditFest NY 2012 – The Documentary Edit
As a continuation to the Day 1 recap of Manhattan Edit Workshop’s EditFest NY, Day 2 started off with The Documentary Edit: Non-Fiction vs. The Truth. Moderated by David Zieff, a panel of 4 documentary editors discussed their process of “writing with images”. Each started off sharing a scene from a film they edited, along with anecdotes from having worked on the film, and words of wisdom they had to share from their personal experience…
EditFest NY, 2012 (DAY 1)
A bit late getting my notes up, but Manhattan Edit Workshop held its yearly EditFest NY this past weekend, hosting a number of discussions with feature film, documentary, and commercial editors. The Friday night kickoff at the Director’s Guild of America Theatre, titled “The Lean Forward Moment”, had moderator Norman Hollyn (The Cotton Club; Heathers;), leading a panel of 4 editors who each shared a 5-10 minute scene that inspired them to become an editor. Here are some of the highlights that they shared…
FREE Adobe, AVID, Resolve and Final Cut Pro Training at NAB 2012
The Innovative Interpretations of Jay Rabinowitz - Editor's Guild Magazine
Whenever editors begin a film, they enter into completely new territory and must adjust to and understand the director's way of working and thinking. Editor Jay Rabinowitz, ACE, has traveled among a particularly diverse group of directors and has been able to immerse himself in their worlds - while showing the courage and ingenuity to surprise them,, which is what really sets and editor apart. All of this was in evidence when we discussed and screened some of Rabinowitz's work in December for my "Inside the Cutting Room" series, produced by ProductionCONN and Manhattan Edit Workshop.
Editor Tariq Anwar on the Art of Postproduction
Thursday night EditShare sponsored a seminar with Oscar-nominated film editor Tariq Anwar at the Florence Gould Hall on East 59th Street in Manhattan. Despite rain the evening was well attended by writers, directors, and especially editors, and Anwar’s presentation — basically a low-key Q&A session moderated by Manhattan Edit Workshop’s Josh Apter — was fun and informative. Here are a few thoughts he shared.
Manhattan Edit Workshop Goes Back to the Future - MovieMaker Magazine
In the Six-Week Intensive Course at Manhattan Edit Workshop (Mewshop), students learn how to use editing software like Final Cut Pro and Avid.
But the school also emphasizes the importance of editing history and theory, ensuring that students know how, when and why to use the tools they have been taught. After all, editors who achieve success in the industry must understand the art of editing as well as which keys to press on a computer. The school’s Artists in Residence program hammers home this point by bringing editors to screen and discuss their work, sharing with students the lessons they’ve learned throughout their own careers.
Inside the World of the Pixar Editor: Ken Schretzmann of Toy Story 3 Discusses the Craft - Moviemaker Magazine
The accomplishments of an editor can be both mysterious and underappreciated, and nowhere is this more evident than among the editors at Pixar Studios. I discovered their special role in the animation process when I visited Ken Schretzmann at Pixar shortly after he won an Eddie for Best Edited Feature Film in Animation for Toy Story 3. He then became the focus of my panel at EditFest NY; and after all our discussions I now realize how fully Pixar uses the editor’s talents, one of many brilliant strategies that has led to the studio’s extraordinary success.
Telling Better Stories - A Report from EditFest in New York
This past June 10-11 saw the audtitorium of Manhattan's Directors Guild Theatre full of eager students, editors and other creatives who attended the 2011 American Cinema Editor's (ACE EditFest New York. Co-sponsored by digital training center Manhattan Edit Workshop (MEWShop), the now-annual East Coast event is supported by the Motion Pictures Editors Guild, as well as post industry mainstays Avid, Adobe, AJA, Autodesk, Blackmagic Design and others.
Mewshop helps editors perfect their craft - Post Magazine
Located in the digital media and entertainment destination of the world, Manhattan Edit Workshop (MEWShop) is open to aspiring and seasoned post production professionals and content creators looking to jump-start or perfect their craft. Combining both the artistic and technical aspects of the discipline, MEWShop (www.mewshop.com) is dedicated to uncovering students’ creative potentials and giving them a strong foundation in the art of editing. Their motto: “Less Starving. More Artist.”
Sensing The Right Rhythm - Editor's Guild Magazine
While the New York edition of EditFest - sponsored by American Cinema Editors-has whetted East Coaster's appetite for advanced training and talks with top edit talent, the fact that it unspools only once a year has left many wishing for more.
That wish can true on a cold evening in January with the launch of EditFest Shortcuts, a one-on-one screening and Q&A dedicated to explicating an experienced editor's career. Author Bobbie O'Steen, well known for her interviews at both EditFest LA and EditFest NY, was in her element as she kicked off this debut session with Craig McKay, ACE.
Q & A With MEWShop Owner Josh Apter - Production Hub
Hands-on, instructor-led certified training classes are the most efficient way to learn editing. I was a self-taught Avid and FCP editor for years and felt very comfortable with the machinery. It wasn't until I finally took my certified training to become an instructor that I saw what I was missing! I was shocked at the huge gaps in my knowledge. I'm a faster and better editor for having learned the software in a certified training environment, and I've seen the same results in countless MEW Shop students.
Cutting Commentary - From The Guild
After opening remarks by Randy Roberts, ACE, President of American Cinema Editors, the DGA Theatre in New York took on a hushed tone as the second annual East Coast EditFest got underway June 11. The reason was that the organization remembered on of it's own; Karen Schmeer, ACE. Lucia Small, both a close friend and a client of Schmeer's editing skills, stood up to talk about the young editor whose life ended earlier this year from a tragic hit-and-run accident near her home in Manhattan.
EditFest With Alan Heim - A Star Editor and His Work on Star 80
I just moderated my third panel for EditFest, and although this had only one panelist, it was enough for a feast, because that panelist was the very gifted and gracious Alan Heim. Alan chose to discuss and show clips from Star 80,director Bob Fosse’s final film, which was an unconventional decision. The film was vilified by the critics and audiences found the disturbing and sexually violent subject matter to be difficult viewing. Alan said, “I believe had it not been so well made, maybe it would have been unwatchable.” Fosse had this to say about the film: “The passion I had when I made it is no longer there, but I know it’s technically the best movie I’ve done. I felt completely in control of this story.”
EditFest - The New York Screenwriting Life
I met one of my professional heroes today -- film editor Thelma Schoonmaker.
She was a guest panelist at EditFest NY this weekend. The seminar took place at the Director's Guild of America in Manhattan. What is EditFest? It's two days of information, education and networking with some of the best editors in the movie and television industry today. It's presented by American Cinema Editors(ACE) and Manhattan Edit Workshop.