MEWShop’s one-day post-production debuted in New York City on Saturday, June 8th, 2013, at the Florence Gould Hall at the French Institute. Panels included the a look at interactive media, behind the green screen of VFX, Sound design of the feature film Life of Pi, and anatomy of a scene with both documentary and television editors. Our closing panel highlighted NYC legends of the 70's with author and film historian Bobbie O’Steen. The event was followed by a gala reception and networking session with guests, panelists and vendors.
Schedule:
9:30 am - Check-in
10:30AM - 12:00PM - Interactive Media: Blurring the Lines Between Post and Production
Moderator: Gordon Burkell (AOTG.com)
Panelists: Adele Major (Producer at B-Reel NY Office), Evan Schechtman (CTO of @radical.media), and Oscar Tillman (Creative Director of B-Reel NY Office)
12:00PM - 1:30PM - Anatomy of a Scene: Documentary and Narrative Editors Deconstruct their Work
Moderator: Michael Berenbaum, ACE (The Americans, Sex and the City)
Panelists: David Tedeschi (Shine a Light, Public Speaking, George Harrison: Living in a Material World), Jeffrey Wolf, ACE (Billy Madison, Beautiful Girls, The Ref) and David Zieff (McConkey, Metallica: Some Kind of Monster)
1:30PM - 2:30PM - Intermission
2:30PM - 4:00PM - MPSE's "Soundshow NY": The Life of Pi Soundscape from Production Audio to Final Mix
Moderator: Amahd Shirazi, MPSE (Billy Bathgate, The Paper, Funny Farm)
Panelists: Eugene Gearty, MPSE (The Aviator, Hugo, Boardwalk Empire), Sam Miille (Shutter Island, Hugo, The Departed), and Phil Stockton, MPSE (Raising Arizona, Goodfellas, Life of Pi)
4:00PM - 5:30PM - Visual Effects: Behind the Green Screen and the Integral Role of the VFX Team
Moderator: Ross Shain (Chief Marketing Officer of Imagineer Systems)
Panelists: Chris Healer (Rescue Me, Elementary, Beasts of the Southern Wild), Yuval Levy (The Adjustment Bureau, Tower Heist, Salt) and Jeff Wozniak (The Avengers, Star Wars Episodes II & III, Pirates of the Caribbean: Dead Man's Chest)
5:30PM - 7PM - Networking Party
7:00PM - 9:00PM - NYC Legends of the 70's: Master Editors Discuss Their Work from This Revolutionary Era in American Cinema
Moderater: Bobbie O'Steen
Panelists: Jerry Greenberg, ACE (Kramer vs. Kramer, Apocalypse Now, The French Connection), Alan Heim, ACE (All That Jazz, Network), Susan Morse, ACE (Manhattan, Hannah and Her Sisters, Zelig), and Bill Pankow, ACE (The Untouchables, Carlito's Way)
General Admission: $89
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NYC Legends of the 70's: Master Editors Discuss Their Work from This Revolutionary Era in American Cinema
Moderater: Bobbie O'Steen
Panelists: Jerry Greenberg, ACE (Kramer vs. Kramer, Apocalypse Now, The French Connection), Alan Heim, ACE (All That Jazz, Network), Susan Morse, ACE (Manhattan, Hannah and Her Sisters, Zelig), and Bill Pankow, ACE (The Untouchables, Carlito's Way)
Editor Alan Heim, ACE Discusses Working with Bob Fosse on All That Jazz
Editors Jerry Greenberg, ACE and Bill Pankow, ACE on Sound Design and Music in "Kramer vs. Kramer"
Bill Pankow, ACE and Jerry Greenberg, ACE discuss "Dressed to Kill"
Susan Morse, ACE Discusses the Difficulty of Endings, Using an Example from "Annie Hall"
The Difficulty with Beginnings from in "Manhattan"
Editor Jerry Greenberg, ACE Remembers his First Editing Gig from Sight, Sound & Story 2013
Jerry Greenberg, ACE and Bill Pankow, ACE on Satisfaction as an Editor from "Kramer vs. Kramer"
Editor Susan Morse, ACE talks about Legendary Editor Dede Allen, ACE from Sight, Sound & Story 2013
This panel is sponsored by:
Gerald B. Greenberg is an American film editor who received both the Academy Award for Film Editing and the BAFTA Award for Best Editing for the film The French Connection (1971). He also received Oscar and BAFTA nominations for Kramer vs. Kramer (1979) and Apocalypse Now (1979). His other credits include School Ties, Awakenings, The Accused, The Untouchables and Scarface.
Alan Heim has more than thirty feature-film credits. He had an extended collaboration with director Bob Fosse; Heim's editing of Fosse's film, All That Jazz, was honored by the Academy Award for Best Film Editing, the BAFTA Award for Best Editing, and the American Cinema Editors Eddie Award. After editing sound for three movies for Sydney Lumet he was asked to cut picture on The Seagull. Next he worked on The Producers first as a sound editor and then taking over the finishing of the picture. A special, Liza with a Z, introduced him to Bob Fosse with whom he edited three feature films, Lenny, All That Jazz and Star 80. Network, Godspell and The Twelve Chairs were squeezed in between as was the Emmy award winning mini-series Holocaust. He moved to Los Angeles in 1994 where he has worked on such films as American History X, The Notebook, and Alpha Dogs. Alan was recently re-elected as president of American Cinema Editors.
Film editor Susan E. Morse is best known for her more than twenty year collaboration with writer/director Woody Allen, beginning as an assistant film editor on his 1977 film Annie Hall, uncredited co-editor on Interiors, and her first solo editing credit on Manhattan, for which she received her first British Academy Award Nomination for Best Film Editing. In addition to her prolific collaboration with Allen, Morse has edited films for directors Steve Gordon, Jim Kouf, Lee Davis, Marc Lawrence, Chazz Palmintieri and, more recently, first-time director Massy Tadjedin, as well as serving stints as an associate film editor on Walter Hill’s The Warriors (with a team of editors headed by David Holden), and briefly on Martin Scorsese’s Raging Bull (with longtime friend and three time Oscar- winning editor Thelma Schoonmaker.) The 32 feature films Morse has edited have earned worldwide critical acclaim, including a total of 41 Oscar nominations and 7 Oscars including an Oscar nomination for editing Hannah and Her Sisters. In addition, two of the films she has edited with first- time writer/directors Arthur (with Steve Gordon in 1981) and Two Weeks Notice (with Marc Lawrence in 2002) were major successes at the box office.
Bobbie O'Steen is a writer and film historian dedicated to sharing the editor’s invisible art with students, professionals and the movie-going public. Educated at Stanford University, she is an Emmy-nominated film editor and the author of two acclaimed books about editing."Cut to the Chase" is based on interviews with her late husband and colleague, legendary editor Sam O’Steen, about his work on such landmark films as The Graduate and Chinatown. Her second book, "The Invisible Cut", deconstructs the editing process of classic films through a cut-by-cut analysis.
O’Steen has hosted evenings honoring master editors involving screening and discussion for UCLA Film and Television Archive's Billy Wilder Theater, Emerson College's Bright Screening Room, NYU’s Cantor Film Center, 92Y Tribeca. She is currently partnered with Manhattan Edit Workshop for her series "Inside the Cutting Room," and she also moderates panels for American Cinema Editors' EditFest. O'Steen has taught graduate film student workshops at NYU's Tisch School of the Arts and has recently created an ongoing course entitled "Making the Cut," which is based on her interviews and examines the art and technique of master editors. In addition, she contributes to such publications as Editors Guild Magazine and Cinema Editor Magazine, the latter naming her "Film Editing's Greatest Champion."
Bill Pankow, ACE has worked in the editing room since graduating from NYU Film School in 1974. His first few years in editing were spent in various apprentice and assistant positions in commercial, film and sound cutting rooms. He started working as Academy Award winning editor Jerry Greenberg’s assistant in 1978 on Kramer vs. Kramer, and subsequently became his associate editor on Brian De Palma’s Dressed to Kill and Scarface. Pankow graduated to editor on De Palma’s 1984 thriller Body Double, and continued his affiliation with the filmmaker on The Untouchables, Casualties of War, Bonfire of the Vanities, Carlito’s Way, Snake Eyes and Femme Fatale, for which he received the Seattle Film Critics’ “Best Editing” award for 2002. He subsequently collaborated with Mr. De Palma on The Black Dahlia and Redacted, named best film of 2008 by France’s Cahiers du Cinema. Pankow has also worked with such noted filmmakers as Abel Ferrara, Robert Benton, and Paul Schrader. These films include The Funeral, R’Xmas, Still of the Night and The Comfort of Strangers. Other feature credits include Parents, Money Train, Whispers in the Dark and Once in the Life, for actor/director Laurence Fishburne. He has edited films for acclaimed Hong Kong filmmakers Tsui Hark Double Team and Ringo Lam Maximum Risk. Director Charles Stone had Bill edit all three of his feature films; Paid in Full, Drumline and Mr. 3000. His 2004 collaboration with Jean Francois Richet Assault on Precinct 13, continued in 2008 with Mesrine, Public Enemy No.1 for which Bill was nominated for a 2009 Cesar award for best editing by the Academie des Arts et Techniques du Cinema.
This panel is sponsored by:
Sound Editors Phil Stockton, Eugene Gearty, and Sam Miille discuss the flying fish from "Life of Pi"
