Editor Janet Ashikaga on being drawn to editing
00:30
Editor Janet Ashikaga on her training as an editor
00:33
Editor Janet Ashikaga on editing with the Ediflex system
01:20
Editor Janet Ashikaga on the editing style of Seinfeld
01:18
Editor Janet Ashikaga on editors as part of production, not post-production
01:38
Editor Janet Ashikaga on "the walk and talk" style of Sports Night
00:26
Editor Janet Ashikaga on editing The West Wing
09:22
Mili Lerner Bonsignori on becoming one of four female editors in New York after World War II
02:18
Mili Lerner Bonsignori on how to edit nitrate film
02:24
Mili Lerner Bonsignori on the use of jump cuts on See It Now
01:29
Mili Lerner Bonsignori on the challenge of editing controversial news stories for time
02:16
Dann Cahn on film editing in the 1930s and burning nitrate film for silver
02:58
Dann Cahn on editing Macbeth for Republic Films
01:17
Film editor Dann Cahn on the beginnings of I Love Lucy
24:57
Film editor Dann Cahn on editing I Love Lucy
27:00
Film editor Dann Cahn on the role of the supervising editor
02:24
Editor Dann Cahn on editing I Love Lucy
04:32
Kelley Dixon on the duties of the assistant editor
03:11
Kelley Dixon on working in both film and video as an editor
02:28
Kelley Dixon on the equipment she worked on in her early years as an editor, and on her fifteen years as an assistant editor
02:34
Kelley Dixon on what makes a good editor
02:33
Kelley Dixon on tailoring her style to a specific show
02:30
Kelley Dixon on the various types of cuts an editor puts together
01:20
Kelley Dixon on the post-production process for Breaking Bad, and on the physical toll editing can take on an editor
04:28
Kelley Dixon on the pacing of Breaking Bad, and on collaborating with show creator Vince Gilligan on editing
04:25
Kelley Dixon on editing the Breaking Bad episode "Gliding Over All," and on the music of the show
13:28
Kelley Dixon on advice to aspiring editors
03:27
Kelley Dixon on what she loves about editing
01:41
Julian Gomez on editing video tape before the advent of digital editing
03:00
Julian Gomez on editing music videos early in his career, and what he learned about editing in that time
07:28
Julian Gomez on editing Damon Wayans: The Last Stand, and on giving his creative input on projects he's editing
Julian Gomez on his editing style
04:23
Julian Gomez on the switch over to digital editing in the 1990s
02:20
Julian Gomez on editing Intimate Portrait, and on working with a co-editor
06:19
Julian Gomez on editing A Baby Story, and on working with an assistant editor
08:06
Julian Gomez on editing Modern Marvels, and on editing for specific audiences
02:34
Julian Gomez on the way editing on shows like Paradise Hotel is used to tell the story in a compelling way
05:55
Julian Gomez on what he likes about editing, and on the possibility of his getting into scripted television
04:46
Julian Gomez on how the field of editing has changed since he started, and on technological advancements in editing
12:35
Sidney M. Katz on what an editor does and his editing process
06:25
Sidney M. Katz on the kind of person it takes to be an editor
02:38
Sidney M. Katz on the difference between editing film and editing for television and various other projects he was involved in editing
03:08
Sidney M. Katz on advice to aspiring editors
00:38
Millie Moore on what attracted her to editing and joining the A.C.E.
03:59
Millie Moore on editing films for Michael Pressman and the relationship between a director and an editor
09:33
Millie Moore on editing films for television and dealing with producers and Executives
03:45
Millie Moore on what she looks for in an actor's performance
01:21
Millie Moore on editing what seems like unusable footage (on "Starship Invasions")
03:22
Millie Moore on working with special effects and music
04:29
Millie Moore on advice to an aspiring editor
02:58
Millie Moore on how women editors have progressed through the years
01:50
Ted Rich on what makes a good editor
06:57
Ted Rich on editing various Desilu productions and the process of editing on film
05:28
Ted Rich on the schedule of editing for Desilu
02:00
Ted Rich on mixing the sound for shows
01:16
Ted Rich on editing drama as compared to editing comedy
03:52
Ted Rich on the evolution of comedy and the evolution of editing from the '50s to the '60s
03:21
Ted Rich on editing ensembles
03:38
Ted Rich on working with directors as an editor
03:48
Ted Rich on dealing with emergencies as an editor
04:20
Ted Rich on supervising editing as opposed to hands-on editing
02:20
Ted Rich on using stock footage
03:56
Ted Rich on summing up his life experience editing
05:48
Arthur Schneider on editing on video tape
07:39
Arthur Schneider on the craft of editing for television
03:09
Arthur Schneider on editing on 16 millimeter film and other formats, and on workprints
05:07
Arthur Schneider on the double system method of editing, and on off-line editing
02:29
Arthur Schneider on dealing with deadlines for editors
01:38
Arthur Schneider on missing an editing deadline
02:28
Arthur Schneider on editing with a laugh track
01:09
Arthur Schneider on video head incompatibility
03:44
Arthur Schneider on the responsibilities of the video tape opreator, and on skip printing
02:23
Arthur Schneider on the various kinds of videotape editing technology he used
08:11
Arthur Schneider on how digital technology has changed editing for television
01:54
Arthur Schneider on the use of jumpcuts on Rowan & Martin's Laugh-In, and on editing for comedy
04:35
Arthur Schneider on working at Consolidate Film Industries with the first computer and video tape editing system
04:55
Arthur Schneider on various editing systems he has used, and on meeting Stanley Kubrick
02:51
Arthur Schneider on testing various editing systems
02:04
Arthur Schneider on re-editing various series for syndication
02:20
Arthur Schneider on advice to an aspiring editor
00:44
John Soh on the craft of editing for television based on the work of Slavko Vorkapić
05:02
John Soh on editing special effects
03:01
John Soh on working with composers as an editor
02:42
John Soh on advice to aspiring editors
04:20
John Soh on what he considers to be the best thing about film editing
02:31
Stanford Tishchler on the process of film editing in the 1950s
02:47
Stanford Tischler on editing comedy
00:55
Stanford Tischler on editing Westerns and his thoughts on editing
02:04
Stanford Tischler on advice to an aspiring editor
00:50
Neil Travis on the importance of rhythm and clarity in editing
01:39
Neil Travis on how each project should be approached differently
00:56
Neil Travis on his definition of editing
00:22
Neil Travis on how a director could err in not giving an editor creative freedom
00:34
George Watters on working with directors as an assistant editor at Universal
01:32
George Watters on an editing room in the '50s
05:29
George Watters on the differences between editing comedy and editing drama
02:23
George Watters on working with various producers at Paramount Television as Director of Post Production
01:55
George Watters on the format of the shows at Paramount Television when he was there and the editing equipment used
05:46
George Watters on advice to aspiring editors
01:06
George Watters on the key traits a person needs to be a successful editor
01:55
Tucker Wiard on physically splicing videotape
08:07
Tucker Wiard on the editing process for a weekly show
02:27
Tucker Wiard on winning an Emmy Award for editing on The Carol Burnett Show
02:59
Tucker Wiard on the differences between editing film and video tape on Murphy Brown
03:09
Tucker Wiard on why the visual quality of The Carol Burnett Show has held up over the years
04:23
