Post-Production Professionals

Andy Ackerman on the craft of editing and winning an Emmy for editing an episode of WKRP in Cincinnati

Howard Anderson Jr. on his process for making a title card 

Howard Anderson Jr. on his style

Howard Anderson Jr. on advice to aspiring visual effects professionals 

Howard Anderson Jr. on the epitome of a special effect

Howard Anderson Jr. on working with editors, cinematographers, and directors

Reza Badiyi on his style for title visualization

Mili Lerner Bonsignori on becoming one of four female editors in New York after World War II

Mili Lerner Bonsignori on how to edit nitrate film

Mili Lerner Bonsignori on the use of jump cuts on See It Now

Mili Lerner Bonsignori on the challenge of editing controversial news stories for time

Kelley Dixon on the duties of the assistant editor

Kelley Dixon on working in both film and video as an editor

Kelley Dixon on the equipment she worked on in her early years as an editor, and on her fifteen years as an assistant editor

Kelley Dixon on what makes a good editor

Kelley Dixon on tailoring her style to a specific show

Kelley Dixon on the various types of cuts an editor puts together

Kelley Dixon on the post-production process for Breaking Bad, and on the physical toll editing can take on an editor

Kelley Dixon on the pacing of Breaking Bad, and on collaborating with show creator Vince Gilligan on editing

Kelley Dixon on editing the Breaking Bad episode "Gliding Over All," and on the music of the show

Kelley Dixon on advice to aspiring editors

Kelley Dixon on what she loves about editing

Julian Gomez on editing video tape before the advent of digital editing

Julian Gomez on editing music videos early in his career, and what he learned about editing in that time

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

Julian Gomez on the switch over to digital editing in the 1990s

Julian Gomez on editing Intimate Portrait, and on working with a co-editor

Julian Gomez on editing A Baby Story, and on working with an assistant editor

Julian Gomez on editing Modern Marvels, and on editing for specific audiences

Julian Gomez on the way editing on shows like Paradise Hotel is used to tell the story in a compelling way

Julian Gomez on what he likes about editing, and on the possibility of his getting into scripted television

Julian Gomez on how the field of editing has changed since he started, and on technological advancements in editing

Alan Jaggs on the Moviola editing machine

Alan Jaggs on on working with large staffs of people on an editing project

Alan Jaggs on advice to aspiring editors

Sidney M. Katz on the kind of person it takes to be an editor

Sidney M. Katz on the difference between editing film and editing for television and various other projects he was involved in editing

Sidney M. Katz on advice to aspiring editors

Elodie Keene on the formula for editing shows like Hart to Hart

Elodie Keene on a typical week directing an episode of L.A. Law

Paul LaMastra on what an editor does

Paul LaMastra on advice to someone starting out in the television editing field

John Martinelli on "sequencing" in editing

John Martinelli on the craft of editing

John Martinelli on the process of editing

Millie Moore on what attracted her to editing and joining the A.C.E.

Millie Moore on editing films for Michael Pressman and the relationship between a director and an editor

Millie Moore on editing films for television and dealing with producers and Executives

Millie Moore on what she looks for in an actor's performance

Millie Moore on editing what seems like unusable footage (on "Starship Invasions")

Millie Moore on working with special effects and music

Millie Moore on advice to an aspiring editor

Millie Moore on how women editors have progressed through the years

Bernie Orenstein on editing his television shows over the years

Ted Rich on what makes a good editor

Ted Rich on editing various Desilu productions and the process of editing on film

Ted Rich on the schedule of editing for Desilu

Ted Rich on mixing the sound for shows

Ted Rich on editing drama as compared to editing comedy

Ted Rich on the evolution of comedy and the evolution of editing from the '50s to the '60s

Ted Rich on editing ensembles 

Ted Rich on working with directors as an editor

Ted Rich on dealing with emergencies as an editor

Ted Rich on supervising editing as opposed to hands-on editing

Ted Rich on using stock footage

Ted Rich on advice to an aspiring editor

Arthur Schneider on editing on video tape

Arthur Schneider on the craft of editing for television

Arthur Schneider on editing on 16 millimeter film and other formats, and on workprints

Arthur Schneider on the double system method of editing, and on off-line editing

Arthur Schneider on dealing with deadlines for editors

Arthur Schneider on missing an editing deadline

Arthur Schneider on editing with a laugh track

Arthur Schneider on video head incompatibility

Arthur Schneider on the responsibilities of the video tape opreator

Arthur Schneider on the various kinds of videotape editing technology he used

Arthur Schneider on how digital technology has changed editing for television

Arthur Schneider on the use of jumpcuts on Rowan & Martin's Laugh-In, and on editing comedy

Arthur Schneider on working at Consolidate Film Industries with the first computer and video tape editing system

Arthur Schneider on various editing systems he has used, and on meeting Stanley Kubrick

Arthur Schneider on testing various editing systems

Arthur Schneider on re-editing various series for syndication

Arthur Schneider on advice to an aspiring editor

John Soh on the craft of editing for television based on the work of Slavko Vorkapić

John Soh on editing special effects

John Soh on working with composers as an editor

John Soh on advice to aspiring editors

John Soh on what he considers to be the best thing about film editing

Stanford Tishchler on the process of film editing in the 1950s

Stanford Tischler on editing comedy

Stanford Tischler on editing Westerns and his thoughts on editing

Stanford Tischler on advice to an aspiring editor

Neil Travis on the importance of rhythm and clarity in editing

Neil Travis on how each project should be approached differently

Neil Travis on his definition of editing

Neil Travis on how a director could err in not giving an editor creative freedom

George Watters on working with directors as an assistant editor at Universal

George Watters on an editing room in the '50s

George Watters on the differences between editing comedy and editing drama

George Watters on working with various producers at Paramount Television as Director of Post Production

George Watters on the format of the shows at Paramount Television when he was there and the editing equipment used

George Watters on advice to aspiring editors

George Watters on the key traits a person needs to be a successful editor