Tom Hannibal VFX Editor, 1St Assistant Editor

Total Page：16

File Type：pdf, Size：1020Kb

Tom Hannibal VFX Editor, 1St Assistant Editor

Shepperton Studios, Studios Road, Shepperton, Middx, TW17 OQD Tel: +44 (0)1932 571044 Website: www.saraputt.co.uk Tom Hannibal VFX Editor, 1st Assistant Editor Website http://www.tomhannibal.com Features ENOLA HOLMES Legendary Entertainment Prod: Millie Bobby Brown VFX Editor Dir: Harry Bradbeer THE GENTLEMEN Miramax Dir: Guy Ritchie VFX Assistant Editor Ed: Paul Machliss THE ART OF RACING IN THE RAIN Original Film Dir: Simon Curtis VFX Editor Editor: Adam Recht JOHNNY ENGLISH 3 Working Title Films Dir: David Kerr VFX Editor Editor: Mark Everson ENTEBBE Working Title Dir: Jose Padilha 1st Assistant Editor Editor: Daniel Rezende Editor: Chris Dickens ROBIN HOOD Appian Way Dir: Otto Bathurst VFX Editor ALIEN: COVENANT 20th Century Fox Dir: Ridley Scott Assistant VFX Editor ROGUE ONE: A STAR WARS STORY Lucasfilm Dir: Gareth Edwards 2nd Assistant Editor Editor: Jabez Olssen 1st Assistant Editor: Tom Harrison-Read JUNGLE BOOK: ORIGINS Warner Bros Dir: Andy Serkis Assistant VFX Editor Editor: Mark Sanger DOUGH Dough Films LTD/Docler Dir: John Goldschmidt Assistant Editor Entertainment Editor: Michael Ellis AVENGERS: AGE OF ULTRON Marvel Studios Dir: Joss Whedon Assistant VFX Editor Prod: Kevin Feige VFX Editor: Phil Eldridge 45 YEARS The Bureau Dir: Andrew Haigh 1st Assistant Editor Prod: Tristan Goligher Shot on 35mm, cut at DNx36 on Avid Media Composer Editor: Jonathan Alberts 20,000 DAYS ON EARTH Pulse Films Prod: Kurban Kassam Assistant Editor Dir: Iain Forsyth Dir: Jane Pollard Editor: Jonathan Amos THE IMPOSTER Raw Television/ Film4/ A&E Line Prod: Vanessa Tovell Edit Assistant Page 1 of 2 CHOSEN Sterling Pictures Dir: Jasmin Dizdar Assistant Editor (Dailies) Editor: Kate Coggins Drama/Drama Doc SS-GB Sid Gentle Editor: David Blackmore Assistant Editor 5x60 SKY LADDER Dir: Kevin MacDonald The Art of Cai Guo-Qiang Editor: Nick Emerson 1st Assistant Editor BABYLON Nightjack Prod: Danny Boyle Series I Dir: Sally El Hosaini Episode 6 Editor: Iain Kitching Assistant Editor THE OUTCAST Blueprint Pictures for BBC Dir: Iain Softley 2x90mins Editor: Ewa J. Lind Assistant Editor cover 2 weeks HARRY AND PAUL'S HISTORY OF THE Balloon Entertainment Dir: Ed Bye Editor: Mark Wybourn 2S 1 x 60 min Assistant Editor LONDON IRISH Company Pictures Dir: Tom Marshall 6x30mins episodes Editor: Gavin Buckley Assistant Editor Editor: Robin Peters SET LIST Princess Productions Exec Prod: Paul Provenza Junior Editor Editor: Mark Henson Editor: Anton Salakas Editor: Gavin Ames SADIE J CBBC Dir: Rebecca Gatward Series III Editor: Adam de Wolff Assistant Editor SADIE J CBBC Dir: Jonathan Gershfield Series II Dir: Chloe Thomas Assistant Editor Editor: Alan Levy 13x30' Editor: Adam Bokey Page 2 of 2.

Copy Link

Recommended publications

Wmc Investigation: 10-Year Analysis of Gender & Oscar
WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S.
[Show full text]
86Th Academy Awards
LIVE OSCARS SUNDAY March 2, 2014 7e|4p THE http://oscar.go.com/nominees OSCARS 86th Academy Awards Best Picture Actor–in a Leading Role Actress–in a Leading Role Actor–in a Supporting Role American Hustle Christian Bale “American Hustle” Amy Adams “American Hustle Barkhad Adbi “Captain Phillips” Captain Phillips Chiwetel Ejiofor “12 Years a Slave” Cate Blanchett “Blue Jasmine” Bradley Cooper “American Hustle” Dallas Buyers Club Bruce Dern “Nebraska” Sandra Bullock “Gravity” Michael Fassbender “12 Years a Slave” Gravity Leonardo DiCaprio “The Wolf of Wall Street Judi Dench “Philomena” Jonah Hill “The Wolf of Wall Street Her Matthew McConaughey “Dallas Buyers Club Meryl Streep “August: Osage County” Jared Leto “Dallas Buyers Club” Nebraska Philomena 12 Years a Slave The Wolf of Wall Street Actress–in a Supporting Role Animated Feature Film Cinematography Costume Design Sally Hawkins “Blue Jasmine” The Croods “The Grandmaster” Philippe Le Sourd “American Hustle” Michael Wilkinson Jennifer Lawrence “American Hustle” Despicable Me 2 “Gravity” Emmanuel Lubezki “The Grandmaster” William Chang Suk Ping Lupita Nyong’o “12 Years a Slave” Ernest and Celestine “Inside Llewyn Davis” Bruno Delbonnel “The Great Gatsby” Catherina Martin Julia Roberts “August: Osage County” Frozen “Nebraska” Phedon Papamichael “The Invisible Woman” Michael O’Connor June Squibb “Nebraska” The Wind Rises “Prisoners” Roger A. Deakins “12 Years a Slave” Patricia Norris Directing Documentary Feature Documentary Short Subject Film Editing “American Hustle” David O. Russell
[Show full text]
Avid Editors Triumph at the 2014 ACE Eddie Awards
February 12, 2014 Avid Editors Triumph at the 2014 ACE Eddie Awards High-Caliber Editors Rely on the World's Preeminent Editing Software to Cut the Most Celebrated Films of the Year BURLINGTON, Mass., Feb. 12, 2014 (GLOBE NEWSWIRE) -- Avid® (Nasdaq:AVID) today congratulates the professional video editing community on their achievements at the 64th annual American Cinema Editors (ACE) Eddie Awards held in Los Angeles on February 7. Many of the nominated and award-winning films were cut by Avid editors who trust the industry's foremost nonlinear editing solution, Avid Media Composer®, for its reliability and flexibility to create higher quality, inspiring content. Avid Media Composer was used by various editors who took home awards on the night, including Christopher Rouse for Best Edited Feature Film (Dramatic) Captain Phillips, and Jay Cassidy, Crispin Struthers and Alan Baumgarten for Best Edited Feature Film (Comedy or Musical) American Hustle. "It's a thrill for our film to be nominated, especially this year with so many excellent movies and so much great editing. It's true what they say; it's a huge honor, especially when the nomination comes from your peers," said Kevin Tent, nominated for Best Edited Feature Film (Comedy or Musical) for Nebraska. "Helping us all the way to the finish line was Media Composer. An amazing machine. Truly the editor's best friend." "As a company, a key part of our heritage lies in the professional video editing community, whose passion inspires our commitment to creating the industry's most proven and trusted solutions," said Avid president and CEO Louis Hernandez Jr.
[Show full text]
Man up – Biographies
Presents MAN UP A film by Ben Palmer (88 min., UK, 2015) Language: English Distribution Publicity Bonne Smith Star PR 1352 Dundas St. West Tel: 416-488-4436 Toronto, Ontario, Canada, M6J 1Y2 Fax: 416-488-8438 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com @MongrelMedia MongrelMedia LOGLINE When Nancy is mistaken for Jack’s blind date under the clock at Waterloo Station, she decides to take fate into her own hands and just go with it. What could possibly go wrong? MAN UP is an honest, heart-warming romantic comedy about taking chances and rolling with the consequences. One night, two people, on a first date like no other... SHORT SYNOPSIS Meet Nancy (Lake Bell): 34, single, hung-over, and exhausted by her well meaning but clueless friends’ continual matchmaking. 10 times bitten, 100 times shy, after an especially disastrous set-up at her friends’ engagement party, Nancy is basically done with dating. She’s reached the end of her rope, and is more than happy to hole up, seal up, and resign herself to a life alone. That is until Jack (Simon Pegg) mistakes Nancy for his blind date under the clock at Waterloo Station, and she does the unthinkable and just… goes with it. Because what if pretending to be someone else finally makes her man up, and become her painfully honest, awesomely unconventional, and slightly unstable true self? Best just to let the evening unfold, roll with the consequences, and see if one unpredictable, complicated, rather unique night can bring these two messy souls together.
[Show full text]
THE TREE of LIFE Editore S.A.S
RASSEGNA STAMPA CINEMATOGRAFICA THE TREE OF LIFE Editore S.A.S. Via Goisis, 96/b - 24124 BERGAMO THE TREE OF LIFE Tel. 035/320.828 - Fax 035/320.843 - Email: [email protected] 1 Regia: Terrence Malick Interpreti: Brad Pitt (O'Brien), Sean Penn (Jack), Jessica Chastain (Sig.ra O'Brien), Fiona Shaw (Nonna), Joanna Going (Moglie di Jack), Hunter McCracken (Giovane Jack), Laramie Eppler (RL), Tye Sheridan (Steve), Jessica Fuselier (Guida), Irene Bedard (Fattorina), Kari Ma- tchett (Ex di Jack), Crystal Mantecon (Elisa) Genere: Drammatico/Fantasy - Origine: India/Gran Bretagna - Anno: 2011 - Soggetto: Terrence Malick - Sceneggiatura: Terrence Malick - Fotografia: Emmanuel Lubezki - Musica: Alexandre Desplat - Montaggio: Hank Corwin, Jay Rabinowitz, Daniel Rezende, Billy Weber, Mark Yoshikawa - Durata: 139' - Produzione: Sarah Green, Bill Pohlad, Brad Pitt, Dede Gardner, Grant Hill, Nicolas Gonda per Plan B Entertainment/River Road Entertainment - Distribuzione: 01 Distribution (2011) Un 'puzzIe' filosofico-metafisico sulla ritrova fra le nubi, fantasmi deambulan- un talento, e il talento cinematografico vita, sull'esistere, sul prima e sul dopo. ti ma veri. Qui uno dei ragazzi, ormai di Malick, in ogni singola scena, è visi- Questo "Albero della vita" dell'insolito cresciuto (è Sean Penn, in una parte bile a occhio nudo anche a chi di film e commendevole regista Terrence Ma- minuscola) ritrova il fratello morto, e la nella vita ne ha visti una decina. Direb- lick ("La rabbia giovane", "I giorni del madre e il padre. Tutti assieme, appas- be: ma qui succede qualcosa di diverso. cielo", "La sottile linea rossa") comin- sionatamente. La vita di qua, appunto, Infatti.
[Show full text]
On the Meaning of a Cut : Towards a Theory of Editing
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output On the meaning of a cut : towards a theory of editing https://eprints.bbk.ac.uk/id/eprint/40391/ Version: Full Version Citation: Dziadosz, Bartłomiej (2019) On the meaning of a cut : towards a theory of editing. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email ON THE MEANING OF A CUT: TOWARDS A THEORY OF EDITING Bartłomiej Dziadosz A dissertation submitted to the Department of English and Humanities in candidacy for the degree of Doctor of Philosophy Birkbeck, University of London October 2018 Abstract I confirm that the work presented in this thesis is my own and the work of other persons is appropriately acknowledged. This thesis looks at a variety of discourses about film editing in order to explore the possibility, on the one hand, of drawing connections between them, and on the other, of addressing some of their problematic aspects. Some forms of fragmentation existed from the very beginnings of the history of the moving image, and the thesis argues that forms of editorial control were executed by early exhibitors, film pioneers, writers, and directors, as well as by a fully- fledged film editor. This historical reconstruction of how the profession of editor evolved sheds light on the specific aspects of their work. Following on from that, it is proposed that models of editing fall under two broad paradigms: of montage and continuity.
[Show full text]
WARNER BROS. PICTURES Presents an ESPERANTO FILMOJ
WARNER BROS. PICTURES Presents An ESPERANTO FILMOJ Produktado A HEYDAY FILMS Production An ALFONSO CUARÓN Film SANDRA BULLOCK GEORGE CLOONEY Music by STEVEN PRICE Costume designer JANY TEMIME Effects Supervisor TIM WEBBER Editors ALFONSO CUARÓN MARK SANGER Production designer ANDY NICHOLSON Director of photography EMMANUEL LUBEZKI, A.S.C., A.M.C. Executive producers NIKKI PENNY CHRIS deFARIA STEPHEN JONES Written by ALFONSO CUARÓN & JONÁS CUARÓN Produced by ALFONSO CUARÓN DAVID HEYMAN Directed by ALFONSO CUARÓN Academy Award® winners Sandra Bullock (“The Blind Side”) and George Clooney (“Syriana”) star in “Gravity,” a heart-pounding thriller that pulls you into the infinite and unforgiving realm of deep space. The film was directed by Oscar® nominee Alfonso Cuarón (“Children of Men”). Bullock plays Dr. Ryan Stone, a brilliant medical engineer on her first shuttle mission, with veteran astronaut Matt Kowalsky (Clooney). But on a seemingly routine spacewalk, disaster strikes. The shuttle is destroyed, leaving Stone and Kowalsky completely alone— tethered to nothing but each other and spiraling out into the blackness. The deafening silence tells them they have lost any link to Earth…and any chance for rescue. As fear turns to panic, every gulp of air eats away at what little oxygen is left. But the only way home may be to go further out into the terrifying expanse of space. “Gravity” was written by Alfonso Cuarón & Jonás Cuarón, and produced by Alfonso Cuarón and David Heyman (the “Harry Potter” films). Chris deFaria, Nikki Penny and Stephen Jones served as executive producers. The behind-the-scenes team includes multiple Oscar®-nominated director of photography Emmanuel Lubezki (“Children of Men,” “The New World”); production designer Andy Nicholson; editors Alfonso Cuarón and Mark Sanger; and costume designer Jany Temime (the “Harry Potter” films).
[Show full text]
Baby Driver (V.O.S.E.)
Sinopsis Baby, un joven y talentoso conductor especializado en fu- gas (Ansel Elgort), depende del ritmo de su banda sonora personal para ser el mejor en lo suyo. Cuando conoce a la chica de sus sueños (Lily James), Baby ve una oportunidad de abandonar su vida criminal y realizar una huida limpia. Pero después de haber sido forzado a trabajar para un jefe del crimen (Kevin Spacey), deberá dar la cara cuando un malogrado golpe amenaza su vida, su amor y su libertad Baby Driver (V.O.S.E.) ¿Quién es Baby Driver? Ficha técnica Es molón pero algo ingenuo. Joven pero mayor de espíritu. Director ...... Edgar Wright A veces algo graciosillo pero muy centrado cuando es ne- Guionista ...... Edgar Wright cesario. Increíblemente bueno en su trabajo pero no siem- Productores ...... Tim Bevan pre consciente de las repercusiones de lo que hace. Ese es Baby, interpretado por Ansel Elgort, un personaje creado por ...... Eric Fellner Edgar Wright para que el espectador mire a través de los ojos ...... Nira Park de un criminal, pero que también experimente las verdaderas Productores ejecutivos ...... James Biddle consecuencias de ese mundo. ...... Liza Chasin “La película empieza con el sueño de ser conductor exper- ...... Adam Merims to en fugas, pero rápidamente se convierte en la pesadilla ...... Rachael Prior de ser un criminal” dice Wright. “La persecución que abre ...... Edgar Wright la cinta está organizada con una precisión de pieza de re- lojería. Todo funciona a la perfección. De repente las cosas ...... Michelle Wright empiezan a torcerse y no tardan en aparecer consecuencias ...... Leo Thompson sangrientas. Nubes de tormenta se han ido acumulando a lo Música original .....
[Show full text]
FICHA TÉCNICA El Árbol De La Vida
FICHA TÉCNICA El árbol de la vida Título original: The Tree of Life Dirección: Terrence Malick Producción: Dede Gardner, Sarah Green, Grant Hill, Brad Pitt, Bill Pohlad Guion: Terrence Malick Música: Alexandre Desplat Fotografía: Emmanuel Lubezki Montaje: Hank Corwin, Jay Rabinowitz, Daniel Rezende, Billy Weber, Mark shikawa País: Estados Unidos Año: 2011 Género: Drama Duración: 139 minutos Idioma: Inglés Protagonistas: Brad Pitt (Sr. O'Brien), Jessica Chastain (la Sra. O'Brien), Sean Penn (Jack), Hunter McCracken (Jack (joven), Laramie Eppler (R.), Tye Sheridan (Steve), Fyona Shaw (la abuela). Premios: 2011: Oscar: Nominada a Mejor película, director y fotografía. 2011: Festival de Cannes: Palma de Oro - Mejor película. 2011: Premios Gotham: Mejor película (ex-aequo). 2011: Círculo de Críticos de Nueva York: Actor (Brad Pitt), actriz sec. (Jessica Chastain) y fot. 2011: National Board of Review (NBR): Top 10 - Mejores películas del año. 2011: Asociación de Críticos de Los Angeles: Mejor director, fotografía y actriz sec. 2011: Críticos de Chicago: Mejor película, director, actriz sec. (Jessica Chastain) y fotografía 2011: Satellite Awards: Mejor guión original y actriz sec. (Jessica Chastain). 4 nom. 2011: Online Film Critics Society: 5 premios, incluyendo Mejor película y guion. 2011: Critics Choice Awards: Mejor fotografía (ex-aequo). 5 nominaciones. 2011: Nominada Premios David di Donatello: Mejor película extranjera. 2011: American Film Institute (AFI): Top 10 - Mejores películas del año. 2011: Asociación de Críticos de Chicago: Mejor película, director, actriz sec. y fot. Sinopsis: Estados Unidos, años 50. Jack (Hunter McCracken) es un niño que vive con sus hermanos y sus padres. Mientras su madre (Jessica Chastain) encarna el amor y la ternura, su padre (Brad Pitt) representa la severidad, pues la creé necesaria para enseñarle al niño a enfrentarse a un mundo hostil.
[Show full text]
Bucureşti Rezumat Teză De Doctorat Timpu
UNIVERSITATEA NAŢIONALĂ DE ARTĂ TEATRALĂ ŞI CINEMATOGRAFICĂ „I.L.CARAGIALE” BUCUREŞTI REZUMAT TEZĂ DE DOCTORAT TIMPUL MAGIC AL FILMULUI. TIMPUL MONTAJULUI. CONDUCĂTOR ȘTIINȚIFIC: Prof.univ.dr. Laurențiu Damian DOCTORAND Oana-Irina Băilă 2017 CUPRINS Introducere..............................................................................................pg.5 Capitolul I - Concepte filosofice privind structurile filmice legate de Ființă și Timp 1.1. Repere fundamentale privind temporalitatea Ființei....................pg.24 1.2. Raportul Ființă – Timp în structuri ce definesc poetica magicului în film...............................................................................................pg.34 Capitolul II – Montajul în definirea temporalității filmice. 2.1. Timpul cinematografic – importantă categorie estetică................pg.57 2.2. Personaj-Ființă; Personaj-existență; ființă destin, timp al ființării (timp- ființă)......................................................................................................pg.76 2.3. Definirea prin montaj a timpului material-timp abstract, timp fizic-timp interior...................................................................................................pg.101 Capitolul III – De la timpul dramaturgic la cel conceptual. 3.1. Structuri de montaj în delimitarea tipurilor de timp.....................pg.128 3.2. Timpul, vector semnificant în dramaturgia filmică......................pg.146 Capitolul IV – Timpul cinematografic și tehnicile scrierii iconice 4.1. Timpul cinematografic între
[Show full text]
Chapter 5 Non-Linear Editing Systems
CHAPTER 5 NON-LINEAR EDITING SYSTEMS alking about the tools we editors use to do our work can be a heated topic. It’s also something that is subject to radical change from software release to software release. TThis chapter is a discussion of the NLEs that various editors use and the good and bad features of using those tools to cut feature films and TV shows. While this book was written to be “evergreen,” (the subject matter will always be relevant and fairly unchanging through the years), this chapter could easily be outdated by the time you read it. These are the thoughts of editors, mostly in the year 2015, but also dating back into 2014. I have personally edited films in Final Cut Pro 7, Premiere and Avid. I have been on Avid the longest—since 1992—but have been on Premiere and FCP since about the turn of the century (2000). I have not adopted FCP-X personally, but have also done some editing in Resolve as well, though not for features or long-form. This chapter is not broken down into topics. I did group the discussions with Premiere, then FCP-X, then Avid. The discussions are in fairly random order with each editor’s interview about this topic of NLEs included in its entirety before moving on the next editor. The goal is not to make one system seem better or worse than another. This is simply a recounting of each editor’s personal experiences with various NLEs. Sometimes the editors have not actually tried a competing NLE.
[Show full text]
T H E T E L E V I S I O N I S S
THE MAGAZINE FOR FILM & TELEVISION EDITORS, ASSISTANTS & POST- PRODUCTION PROFESSIONALS THE TELEVISION ISSUE IN THIS ISSUE KILLING EVE GAME OF THRONES BLACK MIRROR: BANDERSNATCH FOSSE/ VERDON LORENA THE GOOD PLACE AND MUCH MORE US $8.95 / Canada $8.95 QTR 3 / 2019 / VOL 69 THE YEAR’S MOST ACCLAIMED NEW COMEDY “ BRILLIANT. A GORGEOUSLY REALIZED, FUNNY, TIGHT AS A DRUM STORY.” VULTURE EMMY® NOMINATIONS INCLUDING OUTSTANDING COMEDY SERIES OUTSTANDING SINGLE CAMERA PICTURE EDITING FOR A COMEDY SERIES “ARIADNE” LAURA WEINBERG FYC.NETFLIX.COM CINEMA EDITOR MAGAZINE ACE, COVER 2 ISSUE: TV ISSUE EMMY FINAL VOTING ISSUE NETFLIX: RUSSIAN DOLL PUB DATE: 08/15/19 TRIM: 8.5” X 11” BLEED: 8.75” X 11.25” PETITION FOR EDITORS RECOGNITION he American Cinema Editors Board of Directors • Sundance Film Festival T has been actively pursuing film festivals and • Shanghai International Film Festival, China awards presentations, domestic and international, • San Sebastian Film Festival, Spain that do not currently recognize the category of Film • Byron Bay International Film Festival, Australia Editing. The Motion Picture Editors Guild has joined • New York Film Critics Circle with ACE in an unprecedented alliance to reach out • New York Film Critics Online to editors and industry people around the world. • National Society of Film Critics The organizations listed on the petition already We would like to thank the organizations that have recognize cinematography and/or production design recently added the Film Editing category to their Annual Awards: in their annual awards presentations. Given the essential role film editors play in the creative process • Durban International Film Festival, South Africa of making a film, acknowledging them is long • New Orleans Film Festival overdue.
[Show full text]