Sentences with phrase «film editor who»

About Nathaniel Dorsky: Born in New York City in 1943, Nathaniel Dorsky is an experimental filmmaker, author and film editor who has been making films since 1963.

Whether it's the collage artist who consciously dumps scraps into disorderly boxes or the film editor who prefers old - fashioned editing technology that forces him to scroll through more footage to find the clip he thought he was looking for, all these artistic greats understand that disorder has one exceptionally valuable side effect — more serendipity.

Not exact matches

«Andrew got to the point where he could out - Jesuit a Jesuit,» Rev. James Martin, the author and editor - at - large of the Jesuit weekly America who was a consultant on the film, said in the Times article.

She was the editor on the director's 1967 feature debut, «Who's That Knocking at My Door,» and has edited all of his films since «Raging Bull» in 1980.

Quinn's, for example, include Vogue editor Anna Wintour, film producer Harvey Weinstein and celebrity chef Mario Batali (who landed on the front page of the Post today for taking drastic steps to fight what he called overzealous health inspectors from the city).

Scientific American -LSB-'s] editor in chief, John Rennie, and I saw the film Expelled and we'll share our thoughts; and then we'll hear from Eugenie Scott, the director of the National Center for Science Education, who is actually in the movie.

Once you brought on director Mark Levinson, who also has a doctorate in particle physics, and acclaimed film editor Walter Murch, who took home Oscars for both Apocalypse Now and The English Patient, was your role in the movie strictly on - screen?

There is always a question about Jurassic Park (laughs), I even worked with Jack Horner (Editor's note: Palaeontologist who worked on the films).

They talked to the music teacher, and I was able to connect them with a friend who is an award - winning film editor.

Carmen (not her real name), 27, is a film editor in Los Angeles who has had repeat infections of bacterial vaginosis (BV).

Fabled is the first feature film from Ari Kirschenbaum, who served as director, screenwriter, and editor.

The job of assembling all of this was given to film editor Fred Raskin, who, while working closely with Tarantino, cut the film to a final run time of two hours and 45 minutes, leaving almost two additional hours of footage on the cutting room floor.

After spending nearly a year assembling Django Unchained, Raskin, who is now armed with a BAFTA nomination, opens up about his work on the Oscar - nominated film, the job of a film editor, and working with one of his cinematic heroes.

In her place is Fred Raskin, who worked as assistant editor on both «Kill Bill» films and several Paul Thomas Anderson projects.

Yann Gonzalez's second feature stars Vanessa Paradis as Anne, a gay porn producer who tries to win back her lover (and editor) by shooting her most amazing film yet.

It was shot in black and white by Subrata Mitra, otherwise known as Satyajit Ray's cameraman; Ivory had befriended Ray, who reportedly acted as the film's uncredited editor and music supervisor.Shakespeare Wallah (1965), the trio's second film, was the one that first gave the filmmaking team international recognition.

If the film has an MVP, it's Bob Odenkirk, who does a splendid and quietly amusing job of playing The Post's unsung Pentagon Papers hero, assistant managing editor Ben Bagdikian.

Out of time and overbudget, the movie previewed badly and was eventually sliced down to an abrupt 88 minutes (by, among others, editor Robert Wise, who would go on to direct such films as West Side Story and The Sound of Music).

Special kudos must be given to film editor Michael Kahn, whose facility with these completely unhinged battle sequences should shame anybody who's ever worked on a Michael Bay movie; to cinematographer Janusz Kaminski, who has given these scenes a dull grey cast evocative of nightmares torn from America's sleeping subconscious brain; and to sound designer Gary Rydstrom, who has crafted a World War II soundscape that rattles and unnerves you even when your eyes are closed.

The movie nails Moore for taking a headline from a pro-Gore letter to the editor in a Florida newspaper («Gore Won Florida Recount»), enlarging it, changing the date, and using it as a graphic element in a brief montage, making it appear as though it were an actual news article — «all for one second of footage in the film,» according to Jason Clarke, who thus singlehandedly deflates the significance of his own finding.

For someone who performs so many roles on this film [writer, director, producer, composer, editor, production designer, art director, costume designer, etc.], it seems like the screenwriting aspect gets talked about the least.

Like Edmund Halley, who died just a couple of years before seeing his prediction come true about the date when the comet bearing his name would return, the sad note about the film is that Rad (listed as director, producer, writer, editor, composer, production designer and set decorator) died in 2007 before he saw it gain new life.

Emma Freud, a script editor for the film who's also married to the Love Actually writer and director Richard Curtis, recently live - tweeted during a midnight screening of the holiday classic.

If all this weren't enough, Mannix also has to contend with twin gossip columnists (played by Tilda Swinton) who are circling the studio in search of scandal; a near - fatal accident involving a film editor (Frances McDormand); an accountant (Jonah Hill) enlisted to see whether the pregnant ingénue can legally adopt her own child; and a song - and - dance star (Channing Tatum) harboring more than one Big Secret.

It ends with a title card that states «A Paul Schrader Film,» but it is such in name only — a version of the movie that neither Schrader nor Refn (who retains an executive producer credit) nor Cage endorse or have done anything to promote, assembled by a team of producers without the input of Schrader or the film's credited editor, Tim Silano.

Behind the scenes, the creative team includes frequent collaborators Tom Stern, who served as cinematographer on 13 of Eastwood's previous films, and Deborah Hopper, who has served as Eastwood's costume designer on 17 prior films, editor Blu Murray, who most recently cut «Sully,» and the film's composer, Christian Jacob.

Working with cinematographer Jolanta Dylewska, production designer Erwin Prib and editor Michal Czarnecki, Holland so successfully re-creates that alien subterranean world that Krystyna Chiger, the «Green Sweater» author who survived the ordeal, told the New York Times that the film «was so realistic that I felt I am back in the sewer and am smelling it.»

Much more fun is How to Talk to Girls at Parties, an endearingly silly and outré coming - of - age film from Hedwig and the Angry Inch creator John Cameron Mitchell about a trio of punk - obsessed teenagers, led by sensitive fanzine editor Enn (newcomer Alex Sharp), who stumble across a colony of cannibalistic pansexual aliens (among them Elle Fanning) in Croydon during the Queen's Jubilee celebrations.

The Sally Menke Editing Fellowship is designed to support an emerging narrative editor who has edited at least one narrative film (no more than four), and any number of shorts, documentary films, industrial films, or webisodes.

Criterion has also added «Strange Magic,» a 13 - minute featurette focused around writer and Rookie editor - in - chief Tavi Gevinson, who explores the film through the lens of adolescence, suicide, and memory via her own writing and imagery from a fanzine she made about the film in 2012.

The mission of the Center for the Study of Women in Television and Film is to celebrate the accomplishments of television and film directors, writers, producers, cinematographers, and editors — who happen to be women.

And despite the extensive secondary cast of cameramen, sound techs and story editors, the film manages to develop well - rounded central characters, some who of become almost likable in spite of themselves.

in the retro - futuristic world of Priest, a question that proves rhetorical; throughout, rewrites, preview versions, and cutting - room innovations are candidly discussed, with Sam Raimi's editor Bob Murawski receiving special praise as a latecomer to the project who instituted structural changes that made the film more linear.

The director is Mark Robson, one of the two editors on Citizen Kane (the other was Robert Wise, who also launched his directorial career by making several films for Lewton).

It comes with three commentary tracks: the first by Scorsese and editor Thelma Schoonmaker, the second by cast & crew (producer Irwin Winkler, composer Robbie Robertson, actor John Turturro (who was an extra in the film), cinematographer Michael Chapman and others) and the third by the «storytellers» (Paul Schrader, Mardik Martin, Jason Lustig and Jake La Motta).

The screening was attended by the film's star Nick Robinson and director Greg Berlanti, who participated in a Q&A moderated by our editor - in - chief Jared Eng.

In the film, Hanks plays the Post's editor Ben Bradlee, while Streep plays the newspaper's publisher Katharine Graham, who was also the first woman to hold that title at a major national newspaper.

Don't let the nondescript title put you off: this riveting, beautifully made film documents a lost species, a photojournalist who always sought the true, personal core of a story, regardless of what editors, politicians or...

We were constantly shooting it and there was an editor who worked only on that montage throughout the film.

Del Toro earned one of the film's four Oscars; the others went to director Steven Soderberg, editor Stephen Mirrione, and screenwriter Stephen Gaghan (who adapted, condensed, and transplanted the original British mini-series «Traffik»).

Now in 2013, Sundance brought some western heat with Ain't Them Bodies Saints, a breakthrough film for writer and director David Lowery, who also worked as an editor on other Sundance 2013 selections like Upstream Color and wrote Pit Stop.

Besides Newman, who, as Ebert noted, was taking an active hand in shaping and developing a fairly consistent character archetype over several years and films, they included co-screenwriter Frank Pierson, who would go on to write Dog Day Afternoon; cinematographer Conrad Hall (In Cold Blood, Butch Cassidy and the Sundance Kid, Fat City, Marathon Man); editor Sam O'Steen (Carnal Knowledge, Chinatown); and sound mixer Larry Jost, who would work with O'Steen on those two films and then go on to One Flew Over the Cuckoo's Nest — a movie that is in many ways Cool Hand Luke's spiritual cousin.

From Academy Award - nominated screenwriter JOHN LOGAN (Gladiator, The Aviator, Hugo, Skyfall) and acclaimed, Tony Award - winning director MICHAEL GRANDAGE in his feature film debut, comes Genius, a stirring drama about the complex friendship and transformative professional relationship between the world - renowned book editor Maxwell Perkins (who discovered F. Scott Fitzgerald and Ernest Hemingway) and the larger - than - life literary giant Thomas Wolfe.

The film follows a 20 - year old New York University student who moves to California for a summer of surfing, only to see his strong - willed magazine editor mother following him to the West Coast when she learns of his opportunity - wasting exercise.

For Notebook editor Daniel Kasman, though, the film — a series of conversations with family, friends, and mentors conducted by a college graduate who's returned to his small hometown near the port city of Çanakkale — «proved immediately engrossing, like that wonderful experience of starting a hefty book late at night and finding oneself reading until dawn.»

In 2014, the TFCA established the Peter Wintonick Documentary Fund to commemorate the legacy of Peter Wintonick, a writer, director and editor whose films include Manufacturing Consent, and who won the 2006 Governor General's Award for Media.

The film reunites Eastwood with several of his longtime collaborators, who most recently worked with the director on the worldwide hit «American Sniper»: director of photography Tom Stern and production designer James J. Murakami, who were both Oscar - nominated for their work on «The Changeling»; costume designer Deborah Hopper; and editor Blu Murray.

Because it spawns from the amazingly imaginative Astron 6 cooperative (Manborg, Fathers Day) who made one of the best horror films of last year in The Editor.

Playing on the popularity of Freudian psychology in the 1940s, this film has Ginger Rogers as a magazine editor who undergoes psychoanalysis to explain her frequent headaches and daydreams, prompting a lot of Technicolor fantasy sequences.

Linc Leifeste Linc Leifeste is a freelance writer who joined Smells Like Screen Spirit as a film critic in 2011, where he also serves as associate editor.