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On June 11, 2016, over 300 editors, filmmakers, and post production professionals packed the NYIT Auditorium on Broadway for a full day of panels focused on the art of editing documentary films, episodic TV, visual effects, and an in-depth discussion with legendary Oscar-winning editor Anne V. Coates, ACE. The day-long summit was followed by a two-hour networking party sponsored by the American Cinema Editors (ACE.) This year marks the fourth year of the only New York full day summit focused on the art of post production.
Manhattan Edit Workshop President Jason Banke said, Having a master editor like Anne Coates share her experiences from her over 60-year-long career editing films including The Elephant Man, Lawrence of Arabia, Out of Sight, and In the Line of Fire was a once-in-a-lifetime opportunity for all of us. Each year we try to bring the best talent in the industry to our event and this year was our best year yet. Banke continued, We feel fortunate that companies including HP, Intel, Blackmagic Design, G-Technology, Audio Network, Shutterstock, Boris FX, Imagineer Systems, and Padcaster supported this years event. We look forward to growing the series in the months and years to come. This September 28th, the series will return with an evening devoted to the art of cinematography.
Highlights from Panels
During the Visual Effects: Beyond the Green Screen panel, Sean Devereaux (Hardcore Henry, The Magnificent Seven), explained how he used VFX to make every punch actually look like it connected while working on the film Southpaw. Ed Mendez (TheLeftovers, Sin City, X-Men 2), screened footage from HBOs The Leftovers, and described how they actually built quarter-sized houses and burned them down for the ending of season one. Finally Alex Lemke (The Hobbit: The Battle of the Five Armies, Creed), explained to the audience how what was once a final visual effects shot in a movie 10 years ago is now only at a temp stage these days - such have been the massive evolutions in the FX industry.
In the second panel, Finding the Thread: Deconstructing Documentary Films, editor Mona Davis (The Farm, Running From Crazy), explained her choice to include no music in the film Love and Diane. She explained, The film felt so powerful with no music, that having music would only take it over the top. Editor Gabriel Rhodes (The Tillman Story, Newtown) spoke about how the opening of a film sometimes doesnt develop until the middle of the story. Erin Casper (American Promise, The Last Season), showed a scene from the doc American Promise, which had three editors. She described how complex a process it can be with multiple editors.
The TV is the New Black: Televisions Cinematic Revolution panel kicked off with editor Leo Trombetta, ACE (Wayward Pines, Narcos), showing the original version vs. the re-cut version of Wayward Pines Season One finale. With this scene Leo described how fast he had to turnaround a cut with no new footage that lead to changing the outcome of the season. Kelley Dixon, ACE (Breaking Bad, Better Call Saul), recalled how Breaking Bad creator Vince Gilligan encouraged her to take creative chances and to not rob him of any riches in the edit room. Kate Sanford, ACE (Vinyl, Boardwalk Empire) spoke about her previous work on The Wire, dissecting how creator David Simon deliberately only uses music in his shows that come from an identifiable source in the scene like a radio or a car.
VIDEO: Leo Trombetta, ACE discusses editing Wayward Pines at Sight, Sound & Story 2016.
Our headline panel, Inside the Cutting Room with Bobbie OSteen, featuring Anne V. Coates, ACE (Lawrence of Arabia, The Elephant Man, Out of Sight, Erin Brockovich), concluded the day. She began the panel by recalling what it was like as a woman in the 60s breaking into editing. Anne said she always thought of herself as an editor, not a female editor. On Lawrence of Arabia, Anne spoke about the famous match cut of Peter OToole blowing out the match and revealed that it was originally supposed to only be a dissolve. In her experience with director Steven Soderbergh in Out of Sight, she described using a freeze frame technique to introduce characters as an experiment in the editing room. It worked so well that they decided to continue doing it throughout the film. Finally, after showing a clip from Unfaithful, she joked that the love scene featuring Diane Lane was the reason she was hired to cut last years Fifty Shades of Grey.
About Sight, Sound & Story Speaker Series
Produced by Manhattan Edit Workshop, Sight, Sound & Story is an ongoing high-profile speaker series that brings audiences behind the scenes with legends of visual storytelling. Award-winning guests have included Michael Kahn, ACE (Saving Private Ryan, Raiders of the Lost Ark), Anne V. Coates, ACE (Lawrence of Arabia, The Elephant Man), William Goldenberg, ACE (Argo, Heat), Alan Heim, ACE (All That Jazz, Network), Jerry Greenberg, ACE (Apocalypse Now, The French Connection), Sidney Wolinsky, ACE (The Sopranos), Susan Morse, ACE (Manhattan), Kelley Dixon, ACE (Breaking Bad, Better Call Saul), Cindy Mollo, ACE (House of Cards), cinematographers Nancy Schreiber, ASC (November, The Nines) and Paul Koestner (Louie), visual FX artist Rob Legato (Jungle Book, Hugo), sound editors Phil Stockton, M.P.S.E. (Life of Pi, Hugo) and Eugene Gearty, M.P.S.E. (The Departed, Hugo).
Follow us on twitter @SightSndStory and on facebook. To see video clips on our YouTube click here: http://bit.ly/28YAWFi
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