November/December 2014

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9 NOV-DEC 14 / CINEMONTAGE by Tomm Carroll T he idiosyncratic director Christopher Nolan has dabbled in sci-fi elements before, within efforts like his Dark Knight trilogy (2005, 2008, 2012), Inception (2010) and even, to an extent, his breakthrough film Memento (2000). But with Interstellar, which hits theatres November 7 courtesy of Paramount Pictures, Nolan takes the plunge headlong into science fiction with his first foray into outer space, while still grounding things with an emotional family story right here on planet Earth. All of Nolan's films have been characterized by groundbreaking work in post — both picture and sound — and several of them have been honored with top awards in those categories (five Oscar wins and two nominations). His latest work is no exception. In fact, in many ways it's the culmination of all his titles to come before in terms of pioneering post-production. With such familiar collaborators/craftsmen as picture editor Lee Smith, ACE, supervising sound editor Richard King and re-recording mixers Gregg Landaker and Gary Rizzo, CAS — all of whom have worked with the director at least once previously — Nolan has succeeded in creating both imagery and soundscape for another world. So fittingly, our cover story is actually two stories this issue. Peter Tonguette talks to Smith and Nolan about the editing of Interstellar and their simpatico working relationship. Meanwhile, Bill Desowitz delves into the aural adventures of King, Landaker and Rizzo in fashioning the stylized audio for the film, including the fantastical sounds of the wormhole sequence. Another high-profile film this season is the realistic World War II drama Fury, which Columbia Pictures opened in mid-October. Edited by Dody Dorn, ACE (who coincidentally earned an Academy Award nomination for editing the aforementioned Memento), the film marks her third collaboration with director David Ayer, known for his naturalism and authenticity — and not a little bit of violent action. "David's approach in Fury reminds me of the paintings of Hieronymus Bosch; his frames are extremely dense and detailed," Dorn tells Edward Landler in an exclusive interview. "Like a Bosch painting, you can go back…and always see new things in the frame." She also reveals how the editorial department was able to adjust when the film's release date was pushed up four weeks last summer. Our recurring series on Collaborations returns this issue as Mel Lambert takes a look at the ways in which recordists and re- recording mixers work together, both in television and features. Interviewed are the re-recording mix team of Dan Hiland, CAS, and Gary Rogers, CAS, and recordists Chuck Hamilton and Mike Jimenez from The Walking Dead series, as well as re-recording mixer David Giammarco and recordist Daniel Sharp, who worked on the Columbia Pictures release The Interview, due out at Christmas. This December marks the 45th anniversary of the passing of the legendary documentary editor and director Sidney Meyers at the age of 63. A life- long New Yorker, Meyers is best known for the films The Quiet One (1948) and The Savage Eye (1960). In honor of this sad occasion, retired Guild member Walter Hess — a documentary editor himself, who got his start assisting Meyers on a TV documentary series in 1960 — offers a personal remembrance of Meyers and the days of working on truly independent film projects. And speaking of memories of those who left us too soon, filmmaker extraordinaire Martin Scorsese pens a short and to-the-point appreciation of picture editor Tom Rolf, ACE, who died this past July. Rolf co-edited two films for Scorsese: Taxi Driver (1976) and New York, New York (1977). I'm proud to say that this is the second time I've had the pleasure to edit and publish an article by the director. In 1990, when I was editing the DGA Magazine, Scorsese wrote a tribute to the legendary director Michael Powell (who was a great influence on him and who also married Scorsese's longtime editor Thelma Schoonmaker, ACE) after he passed away in his native England at the age of 84. f POST SCRIPT Interplanetary Craft

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