inside the cutting room

Editors, Sound Designers & VFX Artists Share Their Secrets at MEW’s 6/8 Event - ProductionHUB

Read ProductionHUB's review of Sight, Sound & Story 2013!

Stephen Rotter: Do What The Film Needs - From The Guild

Red Rob Feld's article on Manhattan Edit Workshop and Bobbie O'Steen's "Inside the Cutting Room" event featuring editor Stephen Rotter.

Inside The Cutting Room With Bobbie O'Steen Featuring Stephen Rotter

Read about our upcoming Inside the Cutting Room event featuring editor Stephen Rotter.

Andrew Weisblum: The Versatile Editor - From The Guild

Read Dan Ochiva's article on our Inside the Cutting Room event featuring Editor Andrew Weisblum, ACE!

Cutting for Story: Editor Andrew Weisblum in Conversation - Filmmaker Magazine

Thelma Schoonmaker and Martin Scorsese. Walter Murch and Francis Ford Coppola. Tim Squyres and Ang Lee. For many an editor, these longtime creative partnerships represent the most alluring and elusive of career ideals. For editor Andrew Weisblum, that ideal is well on the way to becoming a reality — twice over. Since 2007, Weisblum has cut all of both Wes Anderson’s and Darren Aronofsky’s feature films, ranging in style from the witty charm of Fantastic Mr. Fox to the demented psychodrama of Black Swan (for which Weisblum was Oscar nominated). Kicking off this year’s Manhattan Edit Workshop series “Inside the Cutting Room With Bobbie O’Steen” with an evening of clips and conversation last week, Weisblum reflected on his collaborations with these dramatically different directors. It was a study in opposites that proved again and again that it’s story, not style, that makes the editor.

Inside The Cutting Room Kicks Off the 2013 Speaker Series With Andrew Weisblum, ACE

Headlining the first installment of the 2013 Inside the Cutting Room speaker series, held on February 21, is master film editor Andrew Weisblum, A.C.E. whose critically acclaimed work includes Moonrise Kingdom, Black SwanFantastic Mr. Fox and The Wrestler. O’Steen further comments, "I am honored to welcome Andrew Weisblum as our first guest. His talent and insights about the editing process are an inspiration." Together, they’ll screen and discuss key scenes from Weisblum’s body of work. Weisblum adds, “I'm excited to have an opportunity to talk about my collaborations and explore a bit of the process of how these films ultimately came together.”

Inside The Cutting Room with Bobbie O'Steen at NYU Cantor Film Center on November 8th

Please join renowned author Bobbie O'Steen ("Cut to the Chase," "The Invisible Cut") for an in-depth discussion with master film editor Tim Squyres, ACE, who will screen footage and talk about his work on such films as "Crouching Tiger, Hidden Dragon," “Syriana,” "Rachel Getting Married,” and “Life of Pi".   

MEWShop Presents: Inside The Cutting Room With Bobbie O'Steen Featuring Jay Rabinowitz, ACE

Please join renowned author Bobbie O’Steen (“Cut to the Chase”, “The Invisible Cut”) for an in-depth discussion with master film editor Jay Rabinowitz, ACE who will screen footage and talk about his work on Night on Earth, Affliction, Requiem for a Dream and I’m Not There. This event is presented by Manhattan Edit Workshop and will take place at NYU’s Cantor Film Center on April 26th from 7 to 9 pm.

The Innovative Interpretations of Jay Rabinowitz - Editor's Guild Magazine

Whenever editors begin a film, they enter into completely new territory and must adjust to and understand the director's way of working and thinking.  Editor Jay Rabinowitz, ACE, has traveled among a particularly diverse group of directors and has been able to immerse himself in their worlds - while showing the courage and ingenuity to surprise them,, which is what really sets and editor apart.  All of this was in evidence when we discussed and screened some of Rabinowitz's work in December for my "Inside the Cutting Room" series, produced by ProductionCONN and Manhattan Edit Workshop. 

 

Inside the World of the Pixar Editor: Ken Schretzmann of Toy Story 3 Discusses the Craft - Moviemaker Magazine

The accomplishments of an editor can be both mysterious and underappreciated, and nowhere is this more evident than among the editors at Pixar Studios. I discovered their special role in the animation process when I visited Ken Schretzmann at Pixar shortly after he won an Eddie for Best Edited Feature Film in Animation for Toy Story 3. He then became the focus of my panel at EditFest NY; and after all our discussions I now realize how fully Pixar uses the editor’s talents, one of many brilliant strategies that has led to the studio’s extraordinary success.