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“Looking for False Performance Beats”: Editor Fred Raskin on The Hateful Eight

Kurt Russell, James Parks and Samuel L. Jackson in  The Hateful EightKurt Russell, James Parks and Samuel L. Jackson in The Hateful Eight

As the first film to be shot in the Ultra Panavision 70 format since Khartoum in 1966, Quentin Tarantino’s The Hateful Eight has deservedly garnered a lot of attention for its cinematography; shot in an extra-wide aspect ratio on a…  Read more

By Dec 28, 2015

“As Far as I’m Concerned, We Are Making the Movie Version”: Sam Esmail on Mr. Robot

Mr. RobotMr. Robot

It remains unclear at what point this century cyberpunk — a science-fiction subgenre that emerged largely from the pens of William Gibson and Philip K. Dick — leapt from the realm of speculative to historical fiction; everywhere one looks, it seems that…  Read more

By Nov 24, 2015

“30 Years Ago I’d Put Together a Scene with Scratches and Splices Jumping”: Editor David Rosenbloom on Black Mass

Johnny Depp in Black MassJohnny Depp in Black Mass

David Rosenbloom calls them “movie moments,” those ephemeral slivers of magic discovered amongst the voluminous footage he sifts through in his role as an editor. They can be as small as a glance or as large as a cackle from…  Read more

By Sep 29, 2015

How To Complete Post-Production Quickly to Meet a Festival Deadline: The Making of Joe Begos’ The Mind’s Eye

The  Mind's EyeThe Mind's Eye

In order to make the submission deadline for the Toronto International Film Festival, writer/director Joe Begos and producer/editor Josh Ethier had a locked cut of The Mind’s Eye seven weeks into the editing; the effort paid off as the psychokinetic…  Read more

By Sep 17, 2015


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