Issue link: http://digital.copcomm.com/i/1061972
11 Q4 2018 / CINEMONTAGE VOL 7 NO 4 / Q4 2018 Editor – Tomm Carroll Art Director – Wm. Stetz/Stetz Design Accountant – Meleney Humphrey Proofreaders – David Bruskin, Bill Elias, Edward Landler COLUMNISTS From the National Executive Director – Cathy Repola Post Script – Tomm Carroll Labor Matters – Jeff Burman CONTRIBUTING WRITERS Laura Almo Michael Goldman Joseph Herman Debra Kaufman Kim S. Ketelsen Mel Lambert Edward Landler Betsy A. McLane Troy Takaki, ACE Peter Tonguette CONTRIBUTING PHOTOGRAPHERS Martin Cohen Lauren Damaskinos Christopher Fragapane Sarah Shatz Wm. Stetz ADVERTISING SALES IngleDodd Media Dan Dodd 310-207-4410, ext. 236 dan@ingledodd.com EDITORIAL OFFICES 7715 Sunset Boulevard, Suite 200 Hollywood, CA 90046 Phone – 323.876.4770 or 800.705.8700 Fax – 323.876.0861 E-mail – CineMontage@editorsguild.com Website – www.CineMontage.org PUBLICATIONS COMMITTEE A.J. Catoline (co-chair) Jeff Burman (co-chair) Bobbi Banks, MPSE Dorian Harris, ACE Frank Morrone, CAS, MPSE Kevin D. Ross, ACE Molly Shock, ACE CINEMONTAGE (ISSN 2165-3526) is published quarterly by the Motion Picture Editors Guild, IATSE Local 700, 7715 Sunset Blvd., Hollywood, CA 90046. Periodicals Postage paid at Los Angeles, CA. SUBSCRIPTIONS: $10 of each Editors Guild member's annual dues is allocated for a subscription to CINEMONTAGE. POSTMASTER: Send address changes to CINEMONTAGE, 7715 Sunset Blvd., Suite 200, Hollywood, CA 90046. The opinions expressed in this publication do not necessarily represent the official policy of the Editors Guild. CINEMONTAGE will not accept advertising from nonsignatory companies that perform bargaining unit work. We welcome editorial submissions and press releases. Contact Tomm Carroll, Editor, at tcarroll@editorsguild.com or at 323-876-4770, ext. 222. Copyright © 2018 The Motion Picture Editors Guild Printed by California Offset Printing, Inc. CINEMONTAGE by Tomm Carroll G reetings from the middle of Awards Season 2018-2019 — as if you couldn't tell what month it is from all the e-mail blasts, website banners and For Your Consideration advertisements (including the plethora of them in this issue of CineMontage) from the producers and distributors of this year's award-hopeful films and shows. In Hollywood, they're even more ubiquitous than the perennial holiday decorations. Since this is the time of year when the studios unveil most of their high-profile titles, hoping that Oscar and other associations that dole out statuettes will take notice — and take a liking to them — we've decided to focus on five year-end releases that span multiple genres, and our members' work on them. Our cover story is one of the most anticipated biopics of the season: On the Basis of Sex, which depicts the early days in the legal career of Supreme Court Justice Ruth Bader Ginsberg and her experience breaking the gender barrier. Opening Christmas Day through Focus Features, the film is edited by Michelle Tesoro and directed by Mimi Leder, so it brings an appropriate female perspective to Ginsberg's biography. "It's important for [Ginsberg's character] to communicate to a younger generation about not taking your rights for granted," Tesoro explains to our writer Debra Kaufman. Representing the superhero movie is Warner Bros.' Aquaman, the DC Comics character's first top-billed role after being introduced to audiences in previous features in the DC cinematic universe. The film, directed by James Wan, opens December 21. Writer Michael Goldman dives deep into the undersea kingdom of Atlantis to talk about the intricate utilization of several styles of music with the film's music editors, Paul Rabjohns and J.J. George, the latter working mostly on the orchestral score by composer Rupert Gregson-Williams. For literary adaptations, there is the eponymous film based on James Baldwin's novel If Beale Street Could Talk, which had a limited release December 14 via Annapurna Pictures. The eagerly awaited follow-up collaboration between the picture editorial team of Joi McMillon, ACE, and Nat Sanders, ACE, and writer-director Barry Jenkins — whose last film together, Moonlight, won the Best Picture Oscar for 2016 — Beale Street tells the trials and tribulations of a young African-American couple in 1970s Harlem. "Knowing that this is the first American feature film adaptation of James Baldwin's work left us with some pretty big shoes to fill," McMillon tells writer Laura Almo in her interview with the editors. Combining the family film, musical and the sequel genres, Disney's Mary Poppins Returns alights into cinemas December 19 with — like its classic 1964 namesake — a spoonful of songs and a mash-up of live performance and animation. Director Rob Marshall has assembled a super-cali-synergistic sound crew for the audio elements: sound designers/supervising sound editors Renée Tondelli and Eugene Gearty, supervising music editor Jennifer Dunnington, executive music producer/music supervisor Mike Higham, and re-recording mixers Mike Prestwood Smith and Michael Keller, CAS. Writer Mel Lambert traces the creation of the film's immersive soundtrack with the team. And as for the formerly long-lost and/ or unfinished blast-from-the-past film, we have the "40 years in the making" debut of Orson Welles' The Other Side of the Wind. 'Tis the Season CONTINUED ON PAGE 15