July/August 2014

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6 CINEMONTAGE / JUL-AUG 14 by Tomm Carroll W e in the post-production community all know and believe to be true the quotation attributed to producer/ director George Lucas that "Sound is 50 percent of the moviegoing experience." Music, of course, is included in that percentage, and several directors have also been quoted opining about the use of music and songs in film in "The Best Music in Film," a 2004 article in Sight and Sound, a magazine published by the British Film Institute. Following are a few of their comments. "The marriage of the moving image and music is perhaps the most powerful visual communication we have," says Norman Jewison. "You can take almost any edited visual film sequence and change the emotion and feelings engendered by the use of music." "Music and cinema fit together naturally," states Martin Scorsese. "There's a kind of intrinsic musicality to the way moving images work when they're put together. It's been said that cinema and music are very close as art forms, and I think that's true." "The best soundtrack music bypasses your mind and goes straight to your soul," claims Cameron Crowe. "It sort of trips something in your brain; you know you're being transported." "Music is a big factor in helping the illusion of the film come to life," explains Francis Ford Coppola, "the same way music brings back different periods of our lives." Music and songs indeed transport movie viewers back to a different period in their lives — and even to periods before they were born — especially in Jersey Boys, the just-opened film directed by Clint Eastwood. An adaptation of the stage musical of the same name, the Warner Bros. release chronicles the rise of the Four Seasons, one of the most endearing and enduring pop vocal groups of the early 1960s. In our cover story, the film's supervising music editor Chris McGeary, MPSE, and music editor Tommy Lockett tell our writer Peter Tonguette that, as in the theatrical production, it is the Four Seasons' songs that propel the show. "If the music fails in this movie, there is no movie," McGeary concedes. "There was pressure to get everything as great as possible." Speaking of the pressure of getting everything right, no less a perfectionist than the above- quoted Scorsese was, as always, intimately involved in the selection of period songs and source music for GoodFellas (1990), his magnum opus on organized crime. So says his longtime re-recording mixer Tom Fleischman, CAS, who relates to writer Kevin Lewis in our recurring "My Most Memorable Film" feature, "Marty's using music that he's known all his life…to advance the story. The film is edited precisely to the music." Fleischman, who counts GoodFellas as one of his all-time best re-recording jobs, recalls such favorite scenes (and mixes) as the opening, three-minute, cut-less tracking shot from outside the Copacabana, down the stairs, through the kitchen, and to the stage- front table in the nightclub, with dialogue and sound effects throughout, all accompanied by the Crystals' hit "Then He Kissed Me." Also, the fast-paced, quick- cut climax sequence that culminates in the arrest of protagonist Henry Hill (Ray Liotta) and is scored with a virtual mega-mix of music clips from blues and rock songs, as well as dialogue, voiceover and audio effects. This issue's "This Month in Film History" column, also penned by Lewis, celebrates the 50th anniversary of A Hard Day's Night, the film that revolutionized music-based movies (especially pop and rock pictures) as well as filmmaking, with its nod to Nouvelle Vague and cinema vérité-style sensibilities. It's hard to believe today that back in the summer of 1964, when the Beatles were already taking the Colonies by storm, that film's picture editing, cinematography and the use of music were so innovative and, ultimately, influential. You say you wanna revolution, indeed. Elsewhere in this issue, Laura Almo interviews the editorial crew of TV's The Fosters about the show's specialized workflow, Edward Landler reports on the American Cinema Editors Internship Program, and Debra Kaufman takes a look at the plug-ins favored by picture editors. f POST SCRIPT Silence Is Golden — But the Right Musical Soundtrack Is Priceless User/Prev. User ECD CD Art Director Copy Writer Account Mgr Studio Ar st Traffi c Produc on Round Job # Descrip on Last Modifi ed Client Bleed Trim Live Gu er Print Scale Publica on CONTENT SETUP Loca on Fonts Placed Graphics Inks Minion Pro (Regular; OpenType), Trade Gothic (Bold, Light, Bold No. 2, Oblique; Type 1), Interstate (BoldCondensed; L1_Pro_Choice_Bkgrd. f (CMYK; 265 ppi, 263 ppi; 8.5MB; 113%, 113.68%), L1_WLAP_Vincent_ss1_CMYK. f (CMYK; 293 ppi; 2.2MB; 24.5%), L1_Laforet_Red_Gray_Back_Crop copy. f (CMYK; 279 ppi, 279 ppi; 3.8MB; 107.33%, 107.28%), L1_LaforetPlane_CMYK. f (CMYK; 823 ppi; 23.4MB; 36.43%), L1_Laforet_USOpen_CMYK. f (CMYK; 639 ppi; 15.8MB; 46.89%), L1_Laforet_Visuals_CMYK. f (CMYK; 1664 ppi; 80.8MB; 18.02%), L1_G_Raid_Thunder- bolt_Hero_HiRes_CMYK.psd (CMYK; 1780 ppi; 90.3MB; 16.85%), L1_G-SPEED_eS_CMYK.psd (CMYK; 1145 ppi; Cyan, Magenta, Yel- low, Black WD | Chad Kukahiko LA Xerox C75 14HIT0397A HGST WLAP Vincent Laforet Print 3-28-2014 10:37 HGST 8.75" x 11.125" 8.5" x 10.875" 8.25" x 10.625" None None CineMontage Magazine (May/ June) P. Fujimoto N/A J. Vichez L. Birkenstock J. Tade N. Espiritu R. Thompson A. Wise 2 / FINAL Chad Kukahiko / Noel Espiritu PERSONNEL From location to studio to post, pros like Vincent Laforet stake their reputations on the unmatched performance and fl exibility of G-Technology storage solutions. with Thunderbolt™ G SPEED eS As Vincent Laforet's work has become more technologically sophisticated, his storage needs have risen exponentially. Shooting RED Epic and HDRx can yield a stream of 6GB per minute – and he can need 100GB of storage for just one hour of footage. Choosing the right drives is an obsession. "My workfl ow always involves using G-Technology," he says. On-set he immediately backs up everything to a G-RAID ® with Thunderbolt ™ , and he uses a G-SPEED ® eS for both storage and editing later. Because shooting a 5K resolution with frame rates of up to 120fps would bring slower storage systems to a grinding halt. But the G-RAID with Thunderbolt is more than 12x faster than FireWire 800. And even though that 6GB-per-minute load yields a 100MB/s throughput stream, the G-SPEED eS handles it easily with four Enterprise-class drives and up to 12TB total storage. Visit to learn more about how G-Technology storage can help you work like a pro. Thunderbolt and the Thunderbolt logo are trademarks of Intel Corporation in the U.S. and/or other countries. Design by G-Technology in California. G-RAID, G-SPEED, G-Technology logo and G-Technology are registered trademarks of HGST, Inc. and its affi liates in the U.S. and other countries. ©2014 G-Technology, a division of HGST, Inc. All rights reserved. WORKS LIKE A PRO " YOU JUST WANT DRIVES THAT WORK ALL THE TIME. THAT'S G-TECHNOLOGY." – Vincent Laforet, Pulitzer Prize-winning photographer, fi lmmaker and Local 600 and Directors Guild of America member S:8.25" S:10.625" T:8.5" T:10.875" B:8.75" B:11.125" CineMontage_Jul-Aug_14-4.indd 6 6/18/14 4:27 PM

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