You might call Jonathan Mostow’s action thriller ‘Breakdown’ a cautionary road movie. The 1997 Paramount Pictures release centers on a car trip that takes an unexpected detour.
Even if she was not a lifelong fan of the New York Yankees, music editor Stephanie Lowry would have been proud of having worked on the made-for-television movie ’61*.’
In the early 1960s, when he first met director Karel Reisz, editor John Bloom already knew his way around a cutting room. By then, the London-born editor had risen through …
Over the past two decades, editor Alisa Lepselter, ACE, has worked on a range of films. Her credits include a caper set in the cookie business, a farce focused on …
The year was 1976. The place was the New York brownstone of editor Ralph Rosenblum, ACE. And the film was Woody Allen’s Annie Hall, released the following year to wide …
In 2004, after spending a decade working with Martin Scorsese and Thelma Schoonmaker, ACE, assistant editor Tom Foligno finally got his first chance to be an editor. It wasn’t in …
Foley artist Catherine Harper, MPSE, remembers the first time she encountered filmmaker David Lynch. In 1996, she was about to start creating Foley sounds for Lynch’s upcoming film, ‘Lost Highway.’
Colorist Mark Wilkins has a message for audiences: Think twice before believing everything you see on TV.
As the technical director of “Hairspray Live!,” Charles Ciup was at the helm of a switcher to alternate between the angles of the show’s 19 cameras, and in charge of …
In 1998, when re-recording mixers Rick Alexander and Richard D. Rogers first met with director John Frankenheimer about working on “Ronin,” there were many subjects that could have been discussed.
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