editing
Film Inquiry spoke with editor Lucas Harger, who had two films recently premiere at SXSW!
Good editing or not, Corwin’s impressive, ambitious work in Don’t Look Up is at least highly expressionistic and motivated.
Emily Wheeler takes a deeper look at the quality of the editing used in the popular CBS reality show, Survivor, which just finished its 41st season.
[sponsored] Producing a great movie requires finesse; here are the preproduction, casting, and editing steps you have to take to ensure a smooth production.
Film Inquiry recently had the opportunity to speak with editor Mikkel Nielsen about his work on the upcoming Riz Ahmed drama, Sound of Metal.
The Big Short’s seemingly frantic, random choices to cut at every perfectly unconventional or awkward moments perfectly capture the crazy, panicked, anxiety-driven atmosphere of the 2008 Housing Crisis.
An Oversimplification of Her Beauty is a solid stroke of inventive creativity and artistic integrity, all buttressed by a profound love and understanding of film.
We argue that Lady Bird’s Nick Houy should have been nominated for Best Editing for the subtlety of editing that brought script and character to life.
Axel Grigor, editor/director of the documentary about legendary Australian film editor Jill Bilc*ck, spoke with us about his film and editing.
While much of Wonder Woman was a success, the last ten minutes of the film became a lost opportunity for stronger and deeper meaning.
Most films follow a straightforward style of editing, yet here are 10 that chose to break the mold, and were successful in doing so.
In Andrew Davis’ brilliant 1993 thriller The Fugitive, the filmmakers use a variety of techniques to lead the viewer through the story. They drop hints with color and lighting that viewers are not necessarily trained to consciously notice while they’re watching, and employ a gripping editing style that effectively supports the cat-and-mouse game that embroils the film’s two main characters. Every movie has content, which is what is seen and heard on screen, and what is referred to as form, which is the way in which the film’s creators manipulate that content to their own ends and present it to the viewer.
This is the second and last part of “What Is Mise-en-scène”. Find part one (dealing with mise-en-scène of setting, costume and objects) here! Cinematography If there is an important element in mise-en-scène then cinematography is it.
Since they first hit cinema screens in 1984, the Coen Brothers have had a firm grip on audiences and critics alike. Renowned for their idiosyncratic, high quality work, they have found themselves increasingly in demand with studios and actors, many of whom aim to make their next project a Coen Brothers film. They have written, directed and produced all of their own pictures, edited most of them, and have recently ventured into the ‘gun for hire’ realm of screenwriting, contributing to Steven Spielberg’s Bridge of Spies, Angelina Jolie’s Unbroken, Michael Hoffman’s Gambit, and George Clooney’s upcoming Suburbicon.
Hanna Polak is a documentarian whose films have been screened the world over. It only took her two directorial efforts for her to be recognized by the Academy, as her memorable film Children of Leningradsky was nominated for Best Documentary Short in 2005. After spending some time as a director for hire, Polak is returning to the international documentary scene with an absolutely remarkable film over 14 years in the making, Something Better To Come (you can read my review here).
