When the biggest moment of the biggest movie of 2019 wasn’t working, Editor Jeffrey Ford and his team needed a creative solution.
It’s a wrap! We’ve officially finished Filmsupply Edit Fest and we couldn’t be more excited about the results. Over the course of 30 days, veteran editors and up-and-comers continually impress the judges with their ability to tell a story with style and imagination. Just knocking out an edit that quickly is difficult, so for everyone
Filmmaking can be a messy process. But, according to Spencer MacDonald, sometimes that’s the point, especially when it comes to the interaction between editing and directing: “I always felt like it’s impossible for me to separate the two,” Spencer told us. “For me, making a film or anything of that nature is a whole web.
Warner Bros. latest Joker, takes a conscious step away from the stylized trappings of past Gothams, delivering a raw vision of an urban squalor recalling New York from decades past. The protagonist, played by Joaquin Phoenix is a product of these surroundings. The odyssey that transforms him from Arthur Fleck to a clown-faced menace points to how this film is more of a character study than the traditional comic book blockbuster.
On this project, Director Todd Phillips employed many of his past collaborators, including film editor Jeff Groth, who worked on series such as Community and Entourage and later joined Phillips as the editor for The Hangover Part III and War Dogs. The workflow Groth established on these earlier projects required modification to develop the backstory for the DC villain.
As the editor for the SNL Film Unit as well as working on Documentary Now!, The Other Two, and many more, Adam Epstein gets the rare opportunity to cut a new short film every week during the season. It’s a mad-dash, fast-paced process that we’ve talked about before with Adam. But, as we dive into
We're proud to announce the Filmsupply Edit Fest, a competition built for editors. When you first set out to be an editor, it probably wasn’t to organize dailies. Or endure long hours. Or face tight deadlines. No, you became an editor because you loved a good story. If you’re anything like us, you love the
Beyond being a killer editor, Dana Shaw is a wise man. He’s cut projects for about every high-end, respectable brands you can name-drop (Google, Apple, Patagonia, YETI, Nike, etc.) but he doesn’t take them on without intentionality. In fact, every aspect of his career at this point is meant to build a holistic picture of
Innovative film editor Lucas J. Harger approach to his work is about as far from clock-punching as can be imagined, and hearing him speak of process evokes thoughts of ‘The Method’ school of acting, but applied to post work. An Emmy winner for NBCSN’s hockey special The Road through Warroad, Harger has cut a variety
Film editors are like soccer goalies: They’re playing the same game as everybody else, but with a different set of rules. While most of filmmaking is highly collaborative, the editor often works alone. While most of filmmaking is about accumulating material, the editor’s job is to cut away as much material as possible, to find
There seems to be a disconnect between what we see as art and what we actually watch. Is it a coincidence that Marvel’s films get billions in revenue, while award-winning indie dramas barely break even? Revenue is no indication of quality, but it does indicate overall appeal. Perhaps a more important question is: Do they need to be mutually exclusive? Ryan Connolly doesn’t think so.