Issue link: http://digital.copcomm.com/i/1124770
6 CINEMONTAGE / Q2 2019 VOL 8 NO 2 / Q2 2019 Editor – Tomm Carroll Art Director – Wm. Stetz/Stetz Design Accountant – Meleney Humphrey Proofreaders – David Bruskin, Bill Elias, Edward Landler COLUMNISTS Post Script – Tomm Carroll Getting Organized – Rob Callahan Labor Matters – Jeff Burman CONTRIBUTING WRITERS A.J. Catoline Chris Culler Génesis Henriquez Joseph Herman Debra Kaufman Mel Lambert Edward Landler Aric Lewis Betsy A. McLane Wm. Stetz Peter Tonguette CONTRIBUTING PHOTOGRAPHERS Martin Cohen Scott Sebring Wm. Stetz ADVERTISING SALES and SPONSORSHIP Ken Rose AFM Advertising 818-999-9356 818-312-6880 (cell/text) kenrose@mac.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) Erik Andersen 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 © 2019 The Motion Picture Editors Guild Printed by California Offset Printing, Inc. CINEMONTAGE by Tomm Carroll I t's well known, and often cited, that of all the filmmaking crafts, editing is the only one that did not exist before the advent of moving pictures. In fact, editing was actually created in the process of making those early films — first within the movie camera (or kinetograph or cinématographe) and then after the film was developed and printed, in the phase that became known as post- production. Much less known is what the first cut ever made was — as well as in which film, when, where, why and by whom? Well, I'm not going to give all that away here. Answering those questions was the task I assigned CineMontage's resident film scholar and historian Edward Landler to tackle in his "This Quarter in Film History" column for this issue, which you can find on page 18. Okay, here's a hint: This momentous act took place 120 years ago this spring. Speaking of firsts, our cover story is on the picture editorial crew of the Starz series Vida, the East LA-set comedy/drama that began its second season in late May. It represents several breakthroughs: being the first premium cable show with a Latina showrunner, having a majority female team — from producers and department heads to post-PAs — and featuring an all-Latinx writers room. The article was written by one of Vida's assistant editors, Génesis Henriquez, who offers a personal perspective, likening working on the series to being part of a family, which ties in with the show's theme. Another socially conscious drama that just premiered on Netflix May 31 is the first docudrama made on the real-life tragedy of justice involving the so-called "Central Park Five" — a quintet of teenagers wrongfully accused, convicted and incarcerated for a violent crime they did not commit in 1990. Titled When They See Us, the four-part limited series was written and directed by the Emmy-winning and Oscar-nominated Ava DuVernay. The project was essentially four feature films edited on a premium TV schedule, our writer Debra Kaufman learns from the editorial team, including picture editors Terilyn Shropshire, ACE, Spencer Averick, ACE, and Michelle Tesoro, ACE. On the sound side of the same coin, writer Mel Lambert learns how the period- specific soundscape for When They See Us was fashioned, which is recounted in his interviews with supervising sound editor John Benson and his crew, along with re-recording mixers Joe DeAngelis, CAS, and Chris Carpenter. "'Realism' was our watchword when making soundtrack decisions," Benson says. And making its debut in this issue is a new, recurring column we're calling "Pimp My Bay" — a photo feature in which our art director and photographer Wm. Stetz documents the inventively decorated post-production suites, cutting rooms, sound stages or work spaces of our members, who also discuss their ideas and inspirations for their décor. Our inaugural subject is assistant editor Scott Wesley Ross' editing suite at Hula Post in Burbank. If you'd like your work digs featured, get in touch. Now, about the "Endings" in the headline... It is with decidedly mixed emotions that I announce I am retiring from my position as Publications Director for the Editors Guild and Editor of CineMontage and CineMontage.org this coming August 1 — after 15 years in this post. My successor will be Scott Collins, a wildly talented and seasoned editor/journalist/author whose vast experience includes stints at the Los Angeles Times, The Hollywood Reporter and TheWrap.com. Scott joins the Guild in June, with the expanded title of Communications Director, and will be working with me on our Q3 edition until my departure. More on this transition next issue. f Beginnings and Endings POST SCRIPT