In the 1980s, there were only 63 Black films by, for, or about Black Americans. But in the 1990s, that number quadrupled, with 220 Black films making their way to cinema screens nationwide. What sparked this “Black New Wave?” Who blazed this path for contemporaries like Ava DuVernay, Kasi Lemmons and Jordan Peele? And how did these films transform American culture as a whole? Presenting The Class of 1989, a new limited-run series from pop culture critics Len Webb and Vincent Williams, hosts ...
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Вміст надано Steve Hullfish, ACE, Steve Hullfish, and ACE. Весь вміст подкастів, включаючи епізоди, графіку та описи подкастів, завантажується та надається безпосередньо компанією Steve Hullfish, ACE, Steve Hullfish, and ACE або його партнером по платформі подкастів. Якщо ви вважаєте, що хтось використовує ваш захищений авторським правом твір без вашого дозволу, ви можете виконати процедуру, описану тут https://uk.player.fm/legal.
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We see The Sci-Fi Christian, in all its iterations, as being about the collision between faith and nerdom. We believe that good genre fiction is about more than just entertainment. We seek to engage with the themes and philosophies behind our favorite stories, wrestling with the big ideas within speculative fiction. We’re unabashedly nerdy and unabashedly Christian. Even if your faith background differs from ours, we look forward to interacting with you at The Sci-Fi Christian!
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Manage episode 415999884 series 3485936
Вміст надано Steve Hullfish, ACE, Steve Hullfish, and ACE. Весь вміст подкастів, включаючи епізоди, графіку та описи подкастів, завантажується та надається безпосередньо компанією Steve Hullfish, ACE, Steve Hullfish, and ACE або його партнером по платформі подкастів. Якщо ви вважаєте, що хтось використовує ваш захищений авторським правом твір без вашого дозволу, ви можете виконати процедуру, описану тут https://uk.player.fm/legal.
Today on Art of the Cut we’re talking with some of the editors of Netflix’s sci-fi series, 3 Body Problem. With us for today’s interview are Anna Hauger, ACE, Michael Ruscio, ACE and Simon Smith, ACE. Katie Weiland was also an editor on the show but was unable to join us.
Anna’s credits include Westworld, Station Eleven, and Watchmen.
Michael’s credits include the TV series True Blood, Altered Carbon, Six Feet Under, and House of Cards.
Simon has been on Art of the Cut previously for his ACE Eddie winning work on Chernobyl and his ACE Eddie winning work on Andor. His other credits include the feature film Spaceman.
Don't forget that you can read along and get timeline screenshots, screenshots of bins, ScriptSync pages and trailers at:
borisfx.com/blog/aotc.
148 епізодів
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Manage episode 415999884 series 3485936
Вміст надано Steve Hullfish, ACE, Steve Hullfish, and ACE. Весь вміст подкастів, включаючи епізоди, графіку та описи подкастів, завантажується та надається безпосередньо компанією Steve Hullfish, ACE, Steve Hullfish, and ACE або його партнером по платформі подкастів. Якщо ви вважаєте, що хтось використовує ваш захищений авторським правом твір без вашого дозволу, ви можете виконати процедуру, описану тут https://uk.player.fm/legal.
Today on Art of the Cut we’re talking with some of the editors of Netflix’s sci-fi series, 3 Body Problem. With us for today’s interview are Anna Hauger, ACE, Michael Ruscio, ACE and Simon Smith, ACE. Katie Weiland was also an editor on the show but was unable to join us.
Anna’s credits include Westworld, Station Eleven, and Watchmen.
Michael’s credits include the TV series True Blood, Altered Carbon, Six Feet Under, and House of Cards.
Simon has been on Art of the Cut previously for his ACE Eddie winning work on Chernobyl and his ACE Eddie winning work on Andor. His other credits include the feature film Spaceman.
Don't forget that you can read along and get timeline screenshots, screenshots of bins, ScriptSync pages and trailers at:
borisfx.com/blog/aotc.
148 епізодів
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Today on Art of the Cut we speak with Julia Grove, ACE, Howard Leder, and Lai-San Ho, who edited the Hulu TV series, Paradise. Julia was nominated for an ACE Eddie for her work on This is Us . She’s also edited Grey’s Anatomy , Scandal , and How to Get Away with Murder . Howard has edited The Newsroom , American Gods , This is Us, and Perry Mason. Lai-San has edited This is Us, Rabbit Hole, and The Company You Keep . This discussion includes - among other things - a discussion about editing a show with no temp music, the judicious use of a single slo-mo shot, and why you move a scene from one episode to another. If you'd like to read along with this interview, please check out: borisfx.com/blog/aotc.…
Today on Art of the Cut we speak with Doug Crise, ACE about editing Barry Levinson’s latest film, The Alto Knights . Doug was nominated for an Oscar and a BAFTA and won an ACE Eddie for Babel . Then was nominated for a BAFTA and an ACE Eddie for Birdman . Also nominated for an Emmy and an ACE Eddie for Dopesick . This discussion includes - among other things - that value of intercutting scenes that weren’t written to be intercut, building suspense through editing, and the revelation of the film’s original opening scene and why it changed. If you'd like to read along with this podcast, the full transcript is available below, including clips, trailers and images. borisfx.com/blog/aotc…
Today on Art of the Cut we speak with Monique Zavistovski, ACE about editing the documentary Will & Harper . The film was nominated for a BAFTA, and Monique was nominated for an ACE Eddie and a BFE Cut Above award for Best Documentary Editing. Also this year, she edited The Only Girl in the Orchestra , a documentary short that won the Oscar for that category. We’ll speak with her about both films. Monique has also edited the documentaries They Call me Magic, Raise Hell: The Life and Times of Molly Ivins and Served Like a Girl. This discussion includes - among other things - staying true to the emotional journey of the characters, the difficult choices in killing your darlings, and using empathy to time reaction shots. Read along with the podcast on the BorisFX.com blog to see trailers and exclusive images. borisfx.com/blog/aotc…
Today on Art of the Cut we’re speaking with the ACE Eddie-winning team of editors for Best Documentary Series - for HBO's Chimp Crazy. With us are supervising editor, Evan Wise, ACE, editors, Adrienne Gits, ACE, Doug Abel, ACE, Charles Divak, ACE, and additional editor Sascha Stanton Craven. Evan’s been nominated for multiple Emmys and ACE Eddies, including for his work on Q: Into the Storm, and The Circus: Inside the Greatest Political Show on Earth. He’s also edited on the TV series The Anarchists. Doug's been nominated for numerous Emmys and ACE Eddies. He edited the TV series Tiger King. He’s edited for The Oscars, and he edited the documentary Manda Bala: Send a Bullet. Adrienne’s also been nominated for multiple Emmys and ACE Eddies including for her work on the documentaries and documentary series, Fearless, 100 Foot Wave, and Challenger: The Final Flight. Charles has similarly been nominated for multiple Emmys and ACE Eddies including for his work on Full Frontal with Samantha Bee, and The Circus: Inside the Greatest Political Show on Earth. Sascha edited the Jackass Forever Movie and Jackass 4.5. And cut the TV series On Cinema. This discussion includes - among other things - how story structure informs the audience’s emotions, the joy of a good montage, and how Stanley Kubrick helped to deliver a climactic moment. If you'd like to read along with this interview and see exclusive photos and timelines and watch the trailer, check out the Art of the Cut blog on BorisFX.com borisfx.com/blog/aotc…
Today on Art of the Cut we speak with the three editors of the Disney+/LucasFilm show Skeleton Crew which is from the Star Wars story universe. Editor Andrew Eisen, ACE, has been on Art of the Cut before to talk about The Mandalorian for which he’s been nominated for two Emmys. He’s edited feature films including The Imitation Game and A House with a Clock in its Walls and was an additional editor on Guardians of the Galaxy 2. Terel Gibson, ACE, also edited the recently released feature film The Astronaut , as well as the feature films Sorry to Bother You and Ready or Not . He also edited episodes of the TV series Hawkeye. Kathryn Naranjo was an editor on Stranger Things and has been an assistant editor on feature films including The Adam Projec t, and Free Guy , also on TV series including Halt and Catch Fire. This discussion includes - among other things - cutting the show three times: in storyboards, previs, and finally with live action footage from The Volume, how sound creates believable world-building, and when exactly do you use a “Star Wars Wipe.” You can read along with the podcast on the blog where you can see timeline screenshots, exclusive images and more. Check out: borisfx.com/blog/aotc…
1 LADIES AND GENTLEMEN: 50 YEARS OF SNL MUSIC 1:07:45
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Відтворити Пізніше Відтворити Пізніше Списки Подобається ПодобаєтьсяToday on Art of the Cut we speak with three guests: the co-director and show editor and montage editor of the documentary Ladies and Gentlemen: 50 Years of SNL Music. Oz Rodriguez co-directed the documentary with Ahmir “Questlove” Thompson. Oz directed many of your favorite SNL Shorts, and has also directed episodes of Goosebumps and Nobody Wants This . John MacDonald was an associate producer on SNL. He’s an editor, composer and segment producer on The Tonight Show Starring Jimmy Fallon . You’ve probably had some of his YouTube videos running on repeat. Jimmy Lester has been nominated for a Documentary Emmy for Stockton on My Mind . He’s edited episodes of Wu-Tang Clan: Of Mics and Men , History Channel’s FDR series, and the doc, Getting Naked: A Burlesque Story. This discussion includes - among other things - why so many editors are also musicians, the value of a great assistant editor - and how to be one - and the art of using a talking head. This is a really good show to check out the blog, which has many exclusive images that help show how the montage, in particular, was edited. Visit: borisfx.com/blog/aotc…
Today on Art of the Cut we speak with the director and editor of the documentary film Ernest Cole: Lost and Found. Director Raoul Peck won the Cannes Golden Eye Award and was nominated for a Palme d’or. He was nominated for a DGA Award for Outstanding Directorial Achievement. He won a BAFTA, an Emmy and was nominated for an Oscar and an Independent Spirit Award for his previous film, I Am Not Your Negro . Editor Alexandra Strauss has been nominated for three Cinema Eye Honors Awards for Outstanding Achievement in editing including one for this film and two others you’ll hear about in the interview: I Am Not Your Negro and Exterminate all the Brutes . This discussion includes - among other things - the ethical considerations of showing violence, how tone affects pace, and how the director/editor relationship can open the director up to be more objective. If you'd like to read along with this podcast and see clips and trailers and stills from the documentary, check out: borisfx.com/blog/aotc…
Today on Art of the Cut we speak with Harry Yoon, ACE about his editing of the film The Fire Inside. Harry has been on Art of the Cut before for his work on the films Shang-Chi and the Legend of the Ten Rings, Minari - for which he was nominated for an ACE Eddie, also The Best of Enemies , and Detroit . He’s also been on for the TV series, Beef , for which he won an ACE Eddie. This discussion includes - among other things - working with a first time feature director, streamlining a narrative to increase impact, and how to build a scene that was never shot. While you're listening you can also READ ALONG with this interview and see exclusive photos and clips and the trailer. There's a cool timeline screenshot and a picture of Harry's assistant editors with the STORY WALL in the cutting room! Borisfx.com/blog/aotc…
1 PORCELAIN WAR 1:00:15
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Відтворити Пізніше Відтворити Пізніше Списки Подобається ПодобаєтьсяToday on Art of the Cut we speak with writer/director/editor, Brendan Bellomo of the Oscar-nominated documentary, Porcelain War. The film was nominated for an ASC Award for cinematography for its cinematographer, even though it was his first time using a camera. It won the DGA Award for Outstanding Directorial Achievement in Documentary. It won the PGA Award for Producing, won the Australian Screen Sound Guild Award and the HPA Award for Best Sound, and won the Sundance Grand Jury Prize award. This discussion includes - among other things - determining the structure of the film based on emotion, why color grading needed to be part of the off-line edit, and how the editing pace was determined by the personality of the documentary’s subjects. You can read along with this interview and see images including the timeline and clips and trailers on the BorisFX blog at: borisfx.com/blog/aotc…
Today on Art of the Cut we speak with director, writer, editor Sean Baker who was nominated for Oscars for Best Picture, Best Director, Best Screenplay, and Best Editing for his film, Anora . He was nominated for BAFTAs for Best Film, Best Editing, Best Casting, Best Screenplay and Best Director. He won AFI’s Movie of the Year, and was nominated for an ACE Eddie. Sean’s other feature films include Red Rocket, Tangerine , and The Florida Project. This discussion includes - among other things - why he chose to edit for himself, the importance of sound effects in a movie with no score, and Sean’s aversion to editing shot/reverse shot. You can read along with this podcast and see trailers, clips and photos on the BorisFX blog site. borisfx.com/blog/aotc…
Today on Art of the Cut we speak with Dávid Jancsó, the editor of The Brutalist. David’s been busy! He also edited last year’s Monkey Man as well as films like Evolution and Pieces of a Woman as well as the TV series The Crowded Room and Treadstone. This discussion includes - among other things - how editing is like Brutalist architecture, the purpose behind fracturing time, and the decisions on what to keep in a movie that runs three and a half hours. You can read along with this interview and see clips and images at: borisfx.com/blog/aotc…
Today on Art of the Cut we speak with Oscar-winning editor - and now DIRECTOR - William Goldenberg, ACE about his directorial debut - the NUMBER ONE GLOBAL MOVIE on Amazon - Unstoppable. Of course, we also have William’s editor - no, he didn’t edit it himself - Brett Reed. Brett and William have been working together for more than 20 years. William has been on Art of the Cut many times, including for The Instigators, Air, The Outfit, News of the World, 22 July, Detroit, and Live By Night. Billy won the Oscar for Best editing, a BAFTA and an ACE Eddie for Argo. He was nominated for an ACE Eddie for Air, an Oscar nomination and a BAFTA nom for The Imitation Game, nominated for an Oscar for Zero Dark Thirty, nominated for an Oscar and an ACE Eddie for Seabiscuit, and for The Insider… and an Emmy for Citizen X. Brett was also on The Instigators. He was an editor on M. Night Shyamalan’s Old. He was also an additional editor on Transformers: Rise of the Beasts, Detroit and Live by Night. This discussion includes - among other things - the editing skills that helped William transition to director, why - other than their long working relationship - that William chose Brett as his editor, editing handheld footage - and a fascinating bit of Hollywood lore about Led Zeppelin and the movie Argo. If you'd like to read along with this interview and see the complete clips that we discuss in the interview, please go to: borisfx.com/blog/aotc…
Today on Art of the Cut we speak with editors Scott Morris and Oscar-winning editor Andrew Buckland, ACE about editing James Mangold’s A Complete Unknown. Andrew’s been on Art of the Cut before for his work on The Girl on the Train, and for Ford v Ferrari for which he won an Oscar and a BAFTA and was nominated for an ACE Eddie. He also edited Indiana Jones and the Dial of Destiny. Scott Morris has been on Art of the Cut previously to discuss The Creator and Ad Astra. In various capacities he was also worked on several other movies covered by Art of the Cut including Oppenheimer, Don’t Look up, and The Lost City of Z. This discussion includes - among other things - the difficulties of editing folk music, compressing multiple scenes into a montage, and the sacrifices made cutting a three and a half hour editor’s cut down to size. If you'd like to read along with this podcast and see trailers, clips and exclusive photos, check out the blog on: borisfx.com/blog/aotc…
Today on Art of the Cut we speak with Nick Emerson about editing Conclave , for which he’s nominated for an ACE Eddie for Best Edited Feature Film, Dramatic/Theatrical. Nick has been on Art of the Cut before, when we discussed the film Emma. His other credits include the feature films L ady MacBeth, Eileen, and Greta, and TV series including The Life and Adventures of Nick Nickleby and Life After Life. This discussion includes - among other things - the importance of slowly “drip-feeding the story to the audience, the use of slo-mo to add weight and importance, and how and when to break the 180 degree rule. If you'd like to read along with this podcast and see some of the clips that we talk about, please check out: borisfx.com/blog/aotc…
Today on Art of the Cut we speak with Louise Ford, ACE about editing Robert Eggers’ “Nosferatu.” Louise has been on Art of the Cut before, when we discussed Eggers’ The Northman. Her other credits include the features Wildlife, Bad Education, and The Lighthouse among many others. This discussion includes - among other things - the importance of sound design in horror films including the revelation of her personal secret sauce…her method to maintain emotional continuity and how she deals with the dark themes of her work with Eggers. If you want to read along with this podcast and see exclusive images, trailers and film clips, check out: borisfx.com/blog/aotc…
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In the 1980s, there were only 63 Black films by, for, or about Black Americans. But in the 1990s, that number quadrupled, with 220 Black films making their way to cinema screens nationwide. What sparked this “Black New Wave?” Who blazed this path for contemporaries like Ava DuVernay, Kasi Lemmons and Jordan Peele? And how did these films transform American culture as a whole? Presenting The Class of 1989, a new limited-run series from pop culture critics Len Webb and Vincent Williams, hosts ...
…
continue reading
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…
continue reading
Mining the depths of film entertainment for all mankind. With Scott Johnson, Brian Dunaway, Randy Jordan, and Brian Ibbott. Hosted on Acast. See acast.com/privacy for more information.
…
continue reading
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…
continue reading
From the creators of the #1 documentary SCORE comes this award-winning podcast inviting you into the world of today's most beloved film composers and brilliant musical storytellers.
…
continue reading
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…
continue reading
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continue reading
In a unique weekly podcast, Edith Bowman sits down with a variety of film directors, actors, producers and composers to talk about the music that inspired them and how they use music in their films, from their current release to key moments in their career. The music chosen by our guests is woven into the interview and used alongside clips from their films. https://itunes.apple.com/gb/playlist/soundtracking-with-edith-bowman-episode-132-mary-j-blige/pl.u-6mo4l9mhpzG6x https://play.spotify.co ...
…
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We see The Sci-Fi Christian, in all its iterations, as being about the collision between faith and nerdom. We believe that good genre fiction is about more than just entertainment. We seek to engage with the themes and philosophies behind our favorite stories, wrestling with the big ideas within speculative fiction. We’re unabashedly nerdy and unabashedly Christian. Even if your faith background differs from ours, we look forward to interacting with you at The Sci-Fi Christian!
…
continue reading
Our fifth season is Decoding John Ford, a seven-episode series about cinema's most mysterious auteur. Using scores of never-before-heard archival interviews, host Ben Mankiewicz strips back John Ford's self-spun mythology to reveal his brilliance behind the camera – alongside the often ugly, uncomfortable truths about his life and movies, asking whether we can ever truly separate art from the artist. Decoding John Ford starts June 6.
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continue reading
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