“Allyson is an extraordinary film editor with the most marvelous sense of musical rhythm that permeates her entire process of cutting and shaping motion picture,” says Mira Nair.
After “Sully,” Murray cut “The 15:17 to Paris” for Eastwood, “Glass” for M. Night Shyamalan, and recently finished “The Water Man” for actor-cum-director David Oyelowo.
“I did an edit without his input and sent it to him at his home in Russia. Though he didn’t say so at the time, he hated it.”
“It was complicated because of Tekashi69’s strained personal relationships and the fact that there were pending legal proceedings, and sentencing hadn’t played out yet.”
by Rob Feld Tracey Wadmore-Smith and Shayar Bhansali are a testament to the power of mentorship in editing. What began as a mentor/mentee relationship after Bhansali graduated from AFI has …
“All I want from a director is trust. Without that, there isn’t the foundation for a mutual relationship that allows you to be creative.”
Hannam cut “The Nest,” starring Jude Law as Rory, a charismatic 1980s entrepreneur who relocates his wife and children from suburban America to his native England.
It’s one of the best-reviewed series of the year since its January premiere, with a 94% “fresh” rating on the review aggregation site Rotten Tomatoes.
“The writers want it to feel like real life,” one editor says of the Netflix wrestling comedy.
For picture editors Roger Nygard, ACE, and Matthew Barbato, the current — and final — season of HBO’s Veep offers the opportunity to swim in the middle ground between comedy …
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