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
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
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
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
