Post Magazine

January / February 2019

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Page 3 of 51 2 POST JAN/FEB 2019 EDITOR'S NOTE nce you've read Iain Blair's "Oscar Contenders" report, as well as his interview with Vice director Adam McKay, I invite you to visit the Post Website, where our Oscars coverage continues this month. I recently had a chance to speak with BlacKKKlansman editor Barry Alexander Brown, who was once again called on by director Spike Lee to cut his latest film. Brown and Lee have been collaborating for decades. He cut the filmmaker's Do The Right Thing (1989), Malcolm X (1992), and Crooklyn (1994), so it was no surprise that Lee entrusted him to edit his latest feature, a film about a rookie African-American police officer in Colorado, who makes a name for himself by going undercover to infiltrate the Klan. BlacKKKlansman received six Oscar nominations. In addition to Lee's "Directing" nomination, and Brown's for "Film Editing", the film received recognition for "Actor in a Supporting Role" (Adam Driver), "Music/Original Score" (Terence Blanchard), "Writing/Adapted Screenplay" (Charlie Wachtel, David Rabinowitz, Kevin Willmott, Spike Lee), and "Best Picture". Brown took time to share insight into the filmmaking process and his working relationship with Lee. The Favourite also received considerable Oscar recognition, tying Vice with 10 nominations. Directed by Yorgos Lanthimos, The Favourite's nominations include those for "Best Picture", "Cinematography", "Directing" and "Film Editing". Like Lee and Brown, filmmaker Lanthimos has worked with editor Yorgos Mavropsaridis on several of his films in the past. On our Website, the editor took a moment to answer questions about his work on the feature and how the two effectively collaborate. Beyond our Oscars coverage, I'm excited to tell you about some new coverage we have planned for 2019 and launching this month. We have long been covering the post industry's 'movers & shakers' — new hirings, promotions and appointments — and now we will be delivering even more 'Careers' content online, as well as a monthly newsletter, sharing this news, as well as training and educational opportunities for those looking to advance their careers. We'll also present guest columns from pros offering advice on interviewing, networking and hiring practices. We think there's a lot of value here and can't wait to share it in the months ahead. hile watching awards shows, such as the Academy Awards coming up at the end of the month, I always hear people say how it's an honor just to be nominated. Then I roll my eyes and think, "Sure, until they announce someone else's name as the winner…" And maybe that's my pessimistic side talking…or, maybe it's true. My optimistic side doesn't really believe that the creative professionals in this community are doing their best work so they can win awards. On the contrary, I believe our industry is made up of highly-talented individuals who honestly care about the projects they're working on and simply want to do the best work they can. It's satisfying to create something you're truly proud of, it makes for happy clients and it makes for a happy boss. If you are the boss, then it makes your business look great and certainly, with a track record for success, will bring in new jobs that translate to revenue. Everybody wins! I recently rewatched Christopher Robin and was reminded of the amazing job the VFX team, led by Glenn Melenhorst, did in bringing Pooh and his buds to life to help filmmaker Marc Forster realize his vision. Forster and I talked last year and it's still obvious how deserving they all are of the Oscar recognition. But I also saw other films, such as Aquaman, and was as equally impressed by the outstanding work of VFX super Kelvin Mcllwain and his VFX team — the CG characters, Atlantis, underwater battles and sea life (see page 26), yet no Oscar nomination! Welcome to Marwen, which didn't fare well at the box office or with critics, featured some amazing VFX work lead by Kevin Baillie, who spoke with me about bringing the imagination of lead character Hoggie to life in a truly unique way (see page 32). There's so much great work coming from the post community. Everyone can't be nominated for an Oscar, and certainly everyone can't win, but if you're creating outstanding projects that are recognized by your peers, boss, clients, viewers, whomever, then you're already a winner. Not everyone needs a golden statue! THE ONLINE BY MARC LOFTUS SENIOR EDITOR/ DIRECTOR OF WEB CONTENT MLOFTUS@ POSTMAGAZINE.COM BY LINDA ROMANELLO EDITOR-IN-CHIEF LROMANELLO@ POSTMAGAZINE.COM OSCARS, CONTINUED… W O AND THE WINNER IS… SEE US ON EDITORIAL LINDA ROMANELLO Editor-in-Chief 631-257-5038 MARC LOFTUS Senior Editor/Director of Web Content 516.376.1087 CHRISTINE BUNISH Film & Video IAIN BLAIR Film JENNIFER WALDEN Audio MICHELLE VILLAS Senior Art Director KELSEY ELLIOTT Senior Graphic Designer ADVERTISING MARI KOHN Director of Sales 818.291.1153 cell 818.472.1491 LISA NEELY Corporate Sales Executive, Events, Custom and Integrated Print/Publishing Services 818.660.5828 SUBSCRIPTIONS 818.291.1158 CUSTOMER SERVICE 620 West Elk Ave, Glendale, CA 91204 800.280.6446 DALE ESCEN Account Manager 818.291.1122 REPRINTS 781.255.0625 • 818.291.1153 LA SALES OFFICE: 620 West Elk Avenue, Glendale, California 91204 800.280.6446 WILLIAM R. 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