"Sight, Sound & Story" in the News.....
June 27, 2018 by Amy Leland
Manhattan Edit Workshop’s Sight, Sound & Story (SS&S) was established in June of 2013, first offering post-related events, and then those based around cinematography as well.
As a working editor always looking to learn, I attend numerous industry events throughout the year, but this one has become one of the “can’t miss” items on my list. They bring in top-notch panelists sharing their work and their insights. This year’s post event was once again a chance to hear from professionals at the top of their craft across documentary, scripted television and feature film.
June 19, 2018 by Justin Morrow
Top editors discuss their craft and give their thoughts on the state of cinematic TV.
According to the editors behind some of the biggest shows on TV, this is indeed a golden age for television...and especially for editors. During a panel moderated by Michael Berenbaum (Sex and the City) at this year's Sight, Sound & Story Post-Production Summit in New York, editors Naomi Geraghty (Billions, Bloodline, Treme) and Lynne Willingham, ACE (Breaking Bad, Ray Donovan, X-Files) talked about how they got their start in the industry, gave advice for those looking to break in, and shared clips from shows they've worked on.
December 28, 2017 by Amy Leland
After EditFest NY moved to London, Manhattan Edit Workshop picked up the reins with its Sight, Sound & Story (SS&S) conferences. The first post production event premiered in June of 2013. The format was similar — top-of-their-craft editors and post specialists participating in panels focusing on specific areas of the industry. Over the years there have been great panels on TV editing, sound effects and audio editing, VFX and virtual reality. I have attended these events since they began. They are a great chance to get inspired, learn more about my industry and meet great people.
In September of 2015, SS&S created a new event that focused on the part of the process before we post folks get involved: the shoot. I recently I attended the latest Sight, Sound & Story: The Art of Cinematography. Even though cinematography is not my department, I was as entertained and educated. Here is a recap of some of the best moments of the panels.
December 6, 2017 by Brian Hallett
He has shot more than 200 films and is a frequent collaborator with Ken Burns. Buddy Squires, ASC is an Oscar-nominated and Emmy-winning Director of Photography. If you have seen a great documentary lately than more than likely it was shot by Buddy. He is known for his work on The National Parks, The Civil War, The Vietnam War, Salinger, and The Central Park Five.
This December 6th, the Manhattan Edit Workshop’s acclaimed speaker series continues with an evening devoted to the art of cinematography. At the workshop, MEW will honor the craft of visual storytelling by talking to the masters behind the camera. Tickets for the afternoon/evening event only cost $45 and audience members will also hear from Joan Churchill ASC, Igor Martinovi, and Martin Algren. If, however, you cannot make it to NYC to listen to Buddy in person PVC had the opportunity to talk to him this week for this edition of “Art of the Shot.”
November 29, 2017
This year’s event showcases some of the industry’s best cinematographers, who have shot such feature films as Wedding Crashers, Home Alone and Pitch Perfect; TV shows including Daredevil, The Night Of, House of Cards and Blindspot; and award-winning documentaries including Kurt & Courtney, Dixie Chicks: Shut Up & Sing, The Central Park Five and most of Ken Burns’ library of films.
August 13, 2017 by Steve Hullfish
Michael Berenbaum, ACE won two Emmys and two Eddies for Best editing for Desperate Housewives and Sex and the City. His work also includes editing both Sex and the City movies, and other TV series including The Wire, Nurse Jackie, The Americans and Marco Polo. Art of the Cut interviewed Berenbaum before he spoke at the Manhattan Edit Workshop’s Sight, Sound and Story post-production event.
June 15, 2017 by Amy Leland
This year, I was asked to live tweet from Sight Sound & Story on behalf of Blue Collar Post Collective. As part of their mission to make post events as accessible to members of our industry as possible, they often attend events like this one and provide live blogging, tweeting and recaps of the events for their members via their Facebook group. What follows are the recaps that I posted to that group after the event and massaged a bit for the sake of postPerspective.
While I haven’t made it a professional priority to break into scripted TV editing because my focus is on being a filmmaker, with editing as “just” a day job, I still love this panel, and every year it makes me reconsider that goal. This year’s was especially lively because two of the panelists, Kabir Akhtar and Julius Ramsay, have known each other from very early on in their careers and each had hilarious war stories to share.
June 13, 2017 by Justin Morrow
Dylan Tichenor, Oscar-nominated editor of There Will Be Blood, Magnolia, Brokeback Mountain, and more, breaks down clips from his movies.
During a wide-ranging discussion at Saturday's Sight, Sound & Story panel in New York, Academy Award-nominated editor Dylan Tichenor, ACE revealed to moderator Bobbie O'Steen that he first began to comprehend film editing while watching classic films like Nosferatu with his father. It was during these formative viewing experiences—including holding a piece of film from Orson Welles' The Magnificent Ambersons up to the light—that Tichenor realized movies were composed of different shots.
June 12, 2017 by Justin Morrow
What's it like to be a television editor? Experts explain.
There has perhaps never been a better time to be an editor in Hollywood, though according to panelists who spoke on a panel at the Sight, Sound & Story event in New York, the job is different than it used to be.
The three editors— Kabir Akhtar, ACE (Crazy Ex-Girlfriend, Arrested Development, New Girl), Suzy Elmiger, ACE (Mozart in the Jungle, Master of None, Casual), and Julius Ramsay (The Walking Dead, Battlestar Galactica)—spoke with moderator Michael Berenbaum, ACE in a panel entitled "TV is the New Black: Television's Cinematic Revolution." The wide-ranging conversation covered everything from how to break into the industry to the difference between features and TV. It also answered a pertinent question: Just what, exactly, does "cinematic" mean in the Golden Age of TV?
June 10, 2017 By Steve Hullfish
Maya Mumma co-edited ESPN’s Oscar-winning OJ: Made In America
Maya Mumma has worked on numerous documentary projects including as an associate editor on Restrepo, and as an editor on Which Way Is the Front Line from Here? The Life and Time of Tim Hetherington, Moms Mabley: I Got Somethin’ to Tell You, Mr. Dynamite: The Rise of James Brown,A Journey of a Thousand Miles: Peacekeepers, and ESPN Film’s Oscar-winning: O.J.: Made in America. Mumma will be speaking at Manhattan Editor Workshops’ Sight, Sound and Story event June 10th at the NYIT Auditorium.
June 8, 2017 RedShark News Staff
Away from the major tradeshow cycle, there are any number of smaller events that have grabbed themselves deserved places on the calendar and offer something a bit more niche and perhaps a bit more special too. New York's Sight, Sound & Story this weekend is one of them.
December 21, 2016 By Daniel Rodriguez
Manhattan Edit Workshop’s recent Sight, Sound & Story: Art of Cinematography in New York City featured two one-hour panels: “Thinking In Pictures — Perspectives, Compositions, Lighting and Mood” and “Life Behind the Lens: DPs Talk Careers and Creativity in Film and Television.” The first focused on documentary work and the second on narrative-based storytelling. Both sparked questions and ideas in the head of this DP, including what roles and responsibilities cinematographers play in the storytelling process.
November 25, 2016 By Brian Hallett
The DP of Lovelace, Knocked Up, and Bosch talks life, work, and vintage cinema lenses.
You have seen Eric Alan Edward’s work. I would go so far as to say you have likely watched more than one of his films. This has been my journey discovering the cinematography of Eric Edwards. As I did my research I realized I have, on more than one occasion, sat in a theater and watched his work flicker by on the screen in front of me while I stuffed my mouth with salted popcorn. The big comedies Knocked Up, The Break-Up, and Delivery Man are just a few big budget films he has lensed. Then there is his more dramatic work on Lovelace, the Amazon Original series Bosch, and The Slaughter Rule. Edwards also shot music videos for Bruce Springsteen, Elton John, Michael Jackson, Donna Summers, Alanis Morissette, Paul Simon and the Red Hot Chili Peppers video "Under the Bridge" which won a MTV’s best music video of the year. Like I wrote, you have likely seen Edwards work.
If print does not do you justice you have an option to listen to Eric in person by heading over to Sight, Sound, & Story. Manhattan Edit Workshop’s speaker series. The workshop will dive into the craft of visual storytelling from masters behind the lens. Joining Eric Edwards will be Eric Lin (My Blind Brother).
November 22, 2016 By Brian Hallett
The cinematographer of My Blind Brother talks his most difficult shot with PVC.
Recently, I had the opportunity to talk to Eric Lin who is a cinematographer best known for his work on I Smile Back (2015), Equity (2016) and Rudderless (2014). His latest film My Blind Brother hit theaters earlier this year and can currently be seen on Video on Demand. The conversation between Eric and myself not only touched on his most difficult shot from “My Blind Brother,” but also about life as a cinematographer who is trying to balance work and life. To focus topics and for better understanding, I edited the transcribed audio from our interview. I tried to keep Eric’s voice and answers as true to our conversation as possible.
If after reading this transcribed interview between Eric Lin and myself and you want to hear more from Eric then head over to Sight, Sound, & Story. Manhattan Edit Workshop’s speaker series. The workshop will dive into the craft of visual storytelling from masters behind the lens. Joining Eric Lin will be Eric Alan Edwards (My Own Private Idaho).
August 3, 2016 by Dan Ochiva
If you’re in New York and involved in post, the daylong Sight, Sound & Story is a not-to-miss annual gathering that you don’t want to mix. Now in its fourth year, it is organized and run ably by Josh Apter and the Manhattan Editors Workshop staff.
One lovely Saturday this summer, over 300 editors, filmmakers, and post-production professionals opted to pack the NYIT Auditorium on Broadway for a full day of panels focused on the art of editing documentary films, episodic TV and visual effects.
To top things off, the afternoon ended with an in-depth discussion lead by Bobbie O’Steen with legendary Oscar-winning editor Anne V. Coates, ACE. The American Cinema Editors sponsored the end-of-day networking party, which stretched on for two hours and gave many attendees a chance to discuss the day’s panels and interview.
June 23, 2016 by Fergus Burnett
Earlier this month, Manhattan Edit Workshop held its yearly Sight, Sound & Story conference in New York City. It was a full day of panel discussions featuring editors and visual effects pros at the top of their game. The conversations were refreshing and helpful — the panelists focused on their individual journey to where they are now, as well as the craft of filmmaking rather than tools and techniques.
At these kind of events, someone always asks, “What advice would you give to someone just starting out? How did you do it?” Funnily enough, many panelists seemed a bit bewildered by their own success and tended to credit luck mixed with dogged enthusiasm. There seems to be no conventional career pathway in the film industry, and people get started in a number of ways. Some are grandfathered in, some attend film school, others work their way up from sweeping floors, or maybe it’s a chance encounter at the back of the grip truck, or even drug dealing (seriously, this was one pro’s experience).
June 16, 2016 by Justin Morrow
Is TV an "editor's medium"? The industry's top cutters think so.
Between the three of them, Kelley Dixon, Kate Sanford, and Leo Trombetta have cut thousands of hours of television and movies. Dixon has worked on Breaking Bad and Better Call Saul, Trombetta on Wayward Pines, and Kate Sanford on The Wire and, most recently, Vinyl. At the recent Sight, Sound & Story panel, 'TV Is the New Black: Television's Cinematic Revolution', each discussed their careers and recent work, and gave tips for those looking to get into the industry. Here are the three top takeaways we learned from them.
June 16, 2015 by Justin Morrow
Editors could learn a thing or two from 91-year-old editing legend Anne V. Coates.
Legendary editor Anne V. Coates has won two and been nominated for five Oscars (including a Lifetime Achievement Award in 2007). The nonagenarian editor refuses to use Avid; instead, Coates said she "has her own system" which was custom-made to her preferences—much like the one made for Thelma Schoonmaker—though she refuses to elaborate on the details.
At the Sight, Sound & Story event at the NYIT Theater in Manhattan, Coates sat down for a wide-ranging conversation in which she dissected clips from some of her most famous films and dispensed wisdom about editing and working with directors (from David Lean to David Lynch).
Here are five lessons you can learn from her.
June 14, 2016 by Justin Morrow
How does the most unnoticed job in Hollywood actually work? Four VFX veterans break it down.
Visual effects are more integral (and often unnoticed) than they've ever been, yet many of us—even in the industry—don't know much about how a Visual Effects Supervisor works. At Saturday's Sight, Sound & Story event in New York, four VFX gurus sat down for a discussion about their workflow, how they contribute to a film, and the state of the industry.
Check out our takeaways below from an all-start panel moderated by Ross Shain of Imagineer Systems, with Sean Devereaux (American Hustle, Hardcore Henry), Ed Mendez of Alkemy X (The Leftovers, John Adams), and Alex Lemkeof east side effects (Inside Llewyn Davis, The Hobbit: The Battle of the Five Armies).
June 8, 2016 by Steven Hullfish
Leo Trombetta, ACE has professional credits dating back into the mid 1980s and has been in the editor’s chair since the early 1990s. He has edited more than a dozen feature films, like “Twin Falls Idaho” and a range of TV shows like WB’s “Roswell,” Michael Mann’s “Luck” for HBO, AMC’s “Mad Men,” FOX’s “Wayward Pines,” and Netflix’s “Narcos.” He has also worked as a sound editor on such films as “Bonfire of the Vanities” and David Mamet’s “Homicide.”
Trombetta won an Emmy and an ACE Eddie for editing “Temple Grandin” for HBO Films as well as additional Eddies in 2011 and 2012. He will appear at the Manhattan Editor’s Workshop’s “Sight, Sound and Story” event in NYC, June 11th.
May 25, 2016 by Steven Hullfish
Editor Kate Sanford, ACE, has been working as a professional in post since 1987 and has been in the editor’s chair since 1994. Her credits include “Sex and the City,” “Brooklyn Rules,” “The Wire,” “Boardwalk Empire,” “Show me A Hero” and – most recently – HBO’s “Vinyl.” Her next project is David Simon’s “The Deuce” starring James Franco. She’ll be a panelist at the Manhattan Editor’s Workshop “Sight Sound and Story” event, June 11.
HULLFISH: Tell us a little bit about the schedule for an episode of “Vinyl?” How long were they shooting? You were getting dailies and then how much time did you have to cut? And then they’d go into on-line. Give us the nuts and bolts of it. Is it different from a network TV schedule?
September 14, 2015 by Bobby Marko
Paul is originally from Kalamazoo Michigan and now resides in Port Washington, NY with his wife Deb. Paul is primarily known for his work with comedian Louis CK, but has also shot features, documentaries and series-based shows such as the Hulu comedy, “Deadbeat”. Paul will be taking part in a panel discussion for the upcoming Manhattan Edit Workshop event September 30th, 2015 along side other cinematographers such as Nancy Schreiber, ASC (November, The Nines, The Comeback) Matt Porwoll (Cartel Land, Crisis Hotline: Veterans Press 1), Jerry Ricciotti (Vice, Vice News), and Bob Richman (An Inconvenient Truth, The September Issue, Paradise Lost: the Robin Hood Hills Child Murders).
Let’s go all the way back to the first project that appears on your IMDB page – Adam Clayton Powell. What can you tell us about working on that project?
Do they have me listed as cinematographer for that project? Wow, so hard to remember! It was eons ago. I was actually an assistant on that project for an old friend of mine, Denis Maloney, who is a DP on the West Coast now. We were doing little projects all the time together, and we probably threw an extra camera into an interview and then someone put my name on the credits or something like that. And then decades later they list it on my IMDB page.
September 9, 2015 by Bobby Marko
I had the pleasure of speaking with Nancy Schreiber, ASC, who will be featured at the upcoming Manhattan Edit Workshop event September 30th, 2015. She will be presenting with other notable cinematographers like Hugo Perez (Betty La Flaca, Juliet Y Ramon), Matt Porwoll (Cartel Land, Crisis Hotline: Veterans Press 1), Jerry Ricciotti (Vice, Vice News), and Paul Koestner (Louie, Deadbeat, Better Things). Nancy has a huge list of work throughout her career ranging in short films, documentaries, TV and feature films.
You started off as an electrician and gaffer, but was it always your goal to become a cinematographer?
Well, I think I really just fell into it. I have a psychology degree, which everyone laughs about, but it has become useful with all the personalities out there! I started to get interested in filmmaking when I was at the University of Michigan, at the undergrad level. I decided not to go and finish grad school in psychology and become a therapist. I’m a very active person and I don’t like sitting on my butt. This also a reason why I couldn’t be an editor. I really enjoy the physicality of shooting and before that, lighting. So I followed my boyfriend at the time from the University of Michigan to New York and I answered an ad in the Village Voice to get onto a movie set. That’s really how I learned about New York. They were sending me all over the city to get props, costumes and such, and I just fell in love with the city. But they were so understaffed that I ended up in the lighting department, really not knowing anything. I didn’t have any experience with lighting or anything electrical but I did have an art background and I quickly saw that lighting is where it’s at! There are no boundaries and hopefully you never repeat yourself.
July 24, 2015 by Peter Haas
2015's Sight, Sound and Story conference at the Manhattan Edit Workshop provided some real nuggets of wisdom that can be applied to every edit room.
Building upon previous years of success, Sight, Sound & Story returned to New York; its mission to explore the art of visual storytelling and create, as Manhattan Edit Workshop owner Josh Apter puts it: "A familiar enclave for the creative exchange of ideas and a celebration of the collaborative process of making movies and television."
Two new panels covering unscripted television and documentary films were big additions to Sight, Sound & Story this year. In total, there were four distinct panels, as separate panels on narrative television and feature films rounded out the list.
The moderated question and answer panels offered a unique glimpse into the world of big-budget editing rooms. Multiple versions of the same scene were screened at various points in the editing process, starting from the first assembly to the final version that made it to air/screen.
While a wealth of information was presented (a majority of it dealing directly with improving the initial edits), we were able to assemble some golden nuggets of wisdom out of the proceedings that apply to every edit room.
July 1, 2015 by Dan Ochiva
The Manhattan Edit Workshop (MEW) continues to grow its reputation as the top spot on the East Coast to learn the editor's craft. So it’s perhaps not unusual that it offers a great service pulling together panels of top-notch working editors who provide insight into how they pull off the latest reality TV show, miniseries or feature. This year’s “Sight, Sound & Story” one-day summit of post-production panels was held June 13 at the NYIT Auditorium on Broadway.
In the first installment of our coverage of the panels, we will look at the interview with Oscar-winning editor William Goldenberg, ACE (Argo). Coverage of other panels will be posted in subsequent installments.
June 27, 2015 by Stephanie Mergal
Saturday, June 13th, 9:00 AM. The Manhattan Edit Workshop auditorium in New York was filled with people of all ages who had come to learn more about film editing. Many were students, laptops in hand. The woman sitting next to me had a flyer about a documentary she was working on; the man sitting on the other side showed us the projects he was doing.
The panel started with the “real” in reality TV. Lead by moderator Gordon Burkell, editors Alanda Yudin, Joe Schuck, and Jolie “Bob” Lombardi talked about working in reality TV and the editing process. As someone with a guilty pleasure for reality TV, this was fascinating. Alana Yudin has worked on TV shows such as “Teen Mom” and “Ink Wars.” In preparation, I had watched a few clips of “Ink Wars” before attending the event and became addicted; one clip turned into twenty and by the end I had watched an entire season. All three editors explained the process of editing reality TV. Yudin showed how a scene had footage added to make it more entertaining for the audience. Both Schuck and Lombardi admitted to “embellishing” and even using “bleeps” to give characters larger-than-life personalities. The most important part in editing for reality TV, they said, was the story being told. Music and sound effects also play a very important part to affect the mood of the scene. Many editors use temporary music (scratch tracks); this helps them with the feeling they are trying to evoke while they work.
June 23, 2015 By Tristan Kneschke
Some of Hollywood’s top documentary editors got together at Sight, Sound and Story 2015 to discuss their process. Here are some highlights from their chat.
Documentary film editors Andy Grieve (Going Clear: Scientology and the Prison of Belief, The Armstrong Lie), Zac Stuart-Pontier (The Jinx, Catfish), and Pax Wassermann (Cartel Land, Knuckleball!) sat with Garret Savage (My Perestroika, Ready, Set, Bag!) in conversation as part of Sight, Sound and Story’s annual New York City event, presented by Manhattan Edit Workshop on June 13th. Here’s some of what they talked about.
June 24, 2015 By Eugene Vernikov
Just over a week ago, I sat it in on a number of panels at the Sight, Sound & Story event. All provided invaluable insights into the editing and creation of stories in four major sub-genres of entertainment editing — reality television, documentary, television (broadcast/streaming) and narrative.
The Sight Sound and Story event, organized by Manhattan Edit Workshop took place at the NYIT Auditorium in New York City. The ﬁrst panel was on reality TV editing, which included Alanna Yudin (Ink Master, Mob Wives), Joe Schuck (Alaskan Bush People, Best Funeral Ever) and Julie “Bob” Lombardi (Teen Mom OG, Town of the Living Dead). While I’m not a huge fan of what reality TV has to offer I did ﬁnd myself fascinated with the world of reality TV editors. The amount of creativity and originality they use for their edits amazed me. It was as if they could manipulate reality itself — helping create a more dramatic and interesting story.
June 18, 2015 By Tristan Kneschke
Three top television editors sat on an insightful panel at this year’s Sight, Sound and Story in NYC. Here’s a bit of what was discussed.
TV editors Fabienne Bouville (American Horror Story, Masters of Sex), Sidney Wollinsky (Ray Donovan, The Sopranos), and Jesse Averna (Sesame Street, Monica’s Mixing Bowl) sat with Michael Berenbaum (The Americans, Sex and the City) in conversation as part of Sight, Sound and Story’s annual New York City event presented by Manhattan Edit Workshop on June 13th. Here’s some of what they talked about.
June 22, 2015 By Tristan Kneschke
Some of the best reality television editors sat to chat on a panel at this year’s Sight, Sound and Story in NYC. Here are a few highlights of the talk.
Reality TV editors Alanna Yudin (Ink Master, Mob Wives), Joe Schuck (Alaskan Bush People, Best Funeral Ever), and Julie “Bob” Lombardi (Teen Mom, Town of the Living Dead) spoke with Gordon Burkell of AOTG.com as part of "Sight, Sound and Story"’s annual New York City event presented by Manhattan Edit Workshop on June 13th. Here’s some of what they talked about.
May 15, 2015 by Steven Hullfish
Fabienne Bouville, ACE, will be among a select group of editors featured in Manhattan Edit Workshop’s "Sight, Sound and Story" event on June 13th featuring the likes of Michael Barenbaum, ACE, William Goldenberg (Oscar Winner), and Sydney Wolinsky, ACE. Bouville’s been working consistently in scripted TV with stints as an editor on “Nip/Tuck,” “Glee,” “American Horror Story” and “Masters of Sex.”
HULLFISH: I know that although “Glee” is considered a “single camera” show, it was usually shot with multiple cameras. Any differences in editing a show like “Glee” and “American Horror Story?”
FABIENNE BOUVILLE: Calling things multicam and single cam is a bit of a misnomer. Everything I work on is shot with at least two cameras. Typically maybe 60% of what I get is shot on three cameras, maybe 20% is two cameras and 20% is one camera. My assistant groups them.
I try to keep my assistant as creatively involved as possible. We gave up ScriptSynching for example, because it takes a lot of time. I’d rather have them work on the sound design, which on “American Horror Story” is very intensive work. Also, I like to offer my assistant at least one scene to cut per episode if possible, for their own development. I prefer to have them do creative work where possible instead of grunt work like ScriptSynching.
June 15, 2015 By Tristan Kneschke
Feature film editor William Goldenberg’s panel chat at the annual Sight, Sound and Story event was full of fantastic insights and anecdotes. Here’s some of the highlights.
Feature film editor William Goldenberg sat with Bobbie O’Steen as part of Sight, Sound and Story’s annual New York City event presented by Manhattan Edit Workshop on June 13th. William Goldenberg has a storied career, with film editing credits including Argo (for which he won an Oscar), The Imitation Game, Zero Dark Thirty, Transformers: Age of Extinction, Seabiscuit, Pleasantville and Miami Vice, just to name a few. He had tons to say about his experience working with directors and other editors, as well as the craft in general.
October 3, 2014 by Dan Ochiva
Now an annual event, Manhattan Edit Workshop’s "Sight, Sound & Story," held earlier this summer, offers a chance to hear top editors via a non-stop day of panels and tech demos. If you're in the New York area, you already know that MEWShop is a leading trainer for hands-on know-how of all the major editing apps as well as the programs you turn to for color correction and compositing too. With Sight, Sound & Story, MEWshop’s founder and owner Josh Apter has created something that goes well beyond the classroom, giving a sense of aspiration to editing students and still learning professionals alike.
May 12, 2015 by Steven Hullfish
Andy Grieve will be among a select group of editors featured in Manhattan Edit Workshop's Sight, Sound and Story event on June 13th featuring the likes of Michael Barenbaum, ACE, William Goldenberg (Oscar Winner), Fabienne Bouville, ACE, and Sydney Wolinsky, ACE. Grieve has an impressive list of mostly documentary features to his credit including "Going Clear: Scientology and the Prison of Belief;" The Armstrong Lie; We Steal Secrets: The Story of WikiLeaks; an episode of ESPN's "30 for 30;" "The Carter;" Errol Morris' "Standard Operating Procedure;" and others. He also directed and edited "Can't Stand Losing You: Surviving The Police."
HULLFISH: Your background is mostly documentaries. Talk to me about cutting docs. They're so much more freeform in their storytelling than a narrative feature film like the one you cut ("The Burrowers"). What's your approach to this vast sea of material that you have to draw from to create the story from the ground up?
ANDY GRIEVE: Before the project that I'm working on now, I did the HBO Scientology documentary "Going Clear" (with Academy Award-winning documentary director Alex Gibney). The approach depends on whether it's a "talking heads and archival film" or is it an archival film or is it a verite film? I've edited all of those styles, so it's kind of different for each film but my general process is that I like to watch everything before I start cutting. I can't really cut and screen at the same time. I like to watch and absorb things and not really make choices at the beginning. It's all a process of compartmentalizing information, so as not to get completely overwhelmed.
June 17, 2014 By Erik Luers
A not very wise man once reflected that the strongest examples of film editing are the sequences where you don’t notice it. Day-long seminars such as “Sight, Sound & Story,” which took place last Saturday at the Florence Gould Hall in Manhattan, seek to pull back the curtain on the constantly evolving digital tools and techniques in need of demystification. Structured around a series of topical, industry-specific interests, the panels I attended approached the craft (and the difficulties of perfecting it) from a myriad of vantage points, none the least being narrative structure, the identification of theme and post-production sound design. Speaking to a house compromised primarily of similarly minded film craftsman, the panelists dug out their own portfolios to provide concise case studies.
August 7, 2013 By Dan Ochiva
“Inside the Cutting Room: Sight, Sound & Story,” Manhattan Edit Workshop’s celebration of all things editing, took place this past June 8th. This marked the first time the edit training company presented the daylong event. Considering how complicated it can be to organize such programs, MEWshop (that’s their web address) did quite well, with panels that moved along with nary a hitch.
June 26, 2014 By Emory Parker
As a young filmmaker and editor, I was very excited to be attending Manhattan Edit Workshop’s "Sight, Sound & Story" conference that took place right off of Madison Avenue in New York City recently. On my way to the event, I passed men in slick suits walking into shiny buildings, evoking thoughts of my favorite show, "Mad Men."
Inside “Sight, Sound & Story" Editors, Sound Designers & VFX Artists Share Their Secrets at MEW’s 6/8 Event
June 14, 2013 By Nathan Halpern
On June 18th, the Manhattan Edit Workshop presented "Sight, Sound and Story,” a series of panels on post-production techniques. The day’s events included panels that ran the gamut from picture editing, to sound design and visual effects. Here are some highlights from the day’s panels.