Winter 2016

Issue link:

Contents of this Issue


Page 11 of 75

10 CINEMONTAGE / Q1 2016 by Tomm Carroll H appy New Year, and welcome to the home stretch of the perennial horse race known as Awards Season, the 2015–2016 edition. And, like in the quadrennial presidential primary competition, occurring concurrently, there is no clear favorite in the contest as I am writing this at the very beginning of February. But come a month from now — Oscar Sunday (February 28) and Super Tuesday (March 1) — the film business' match will yield definitive winners, while the world of politics' rivalries will likely produce at least a frontrunner for the nomination in both of the political parties. While you've probably heard or read a lot (too much) from the presidential candidates, the opposite is true for this year's Academy Awards nominees — especially those in the post-production categories (Film Editing, Sound Editing and Sound Mixing) that are largely populated by fellow members of the Motion Picture Editors Guild. But fortunately, CineMontage writers Bill Desowitz, Debra Kaufman and Mel Lambert, respectively, interviewed the Oscar nominees in the three classifications about their recognized films, as well as their thoughts on why their work on these particular pictures was singled out as among the best of 2015. Best of luck to all on February 28! A multiple Academy Award nominee for Best Film Editing who is no stranger to cutting films with multiple characters and storylines, Dylan Tichenor, ACE, has yet another one set for release on February 26 through Open Road Films. Entitled Triple 9, it concerns a cadre of corrupt cops and the Jewish Russian mafia. In our cover story, writer Rob Feld talks to Tichenor about the film and the challenges he faced delineating the different cast members and their plotlines, as well as balancing the movie's action and dialogue scenes. And speaking of character, Rachel Chancey, a New York Foley artist, feels that her craft of choice, not unlike acting, is a performance-based study in human character. "I'm looking for what's going on with the characters…watching and trying to get in touch with their emotional lives," she tells our writer Laura Almo. "It all helps when I'm performing Foley." Chancey, along with fellow Gotham-based Foley practitioner Marko Costanzo, and West Coast counterparts Joe Savella and the team of Robin Harlan, MPSE, and Sarah Monat, MPSE, are profiled in Almo's informative story on Foley artists and the work they do. Almo also traces the history of the craft and explains the origins of the term "Foley." In Peter Tonguette's recurring CineMontage column, "My Most Memorable Film," acclaimed "triple threat" (picture editor, sound editor and re-recording mixer) Walter Murch, ACE, CAS, MPSE, recalls his work on director Francis Ford Coppola's legendary (and infamous, due to numerous shooting delays) Apocalypse Now (1979), on which Murch worked in all three of those disciplines, earning Academy Award nominations for Film Editing and Sound (Editing), and winning for the latter — the first of his trio of Oscar statuettes. This issue's "This Quarter in Film History" column finds film scholar and historian Edward Landler revisiting the last completed motion picture of Hollywood legends Clark Gable and Marilyn Monroe, the John Huston-directed The Misfits, released 55 years ago. Another troubled production, the film, according to Landler, "resonates today more greatly than how the sum of its parts were viewed years ago." And finally, in Tech Tips, our technology columnist Joseph Herman test-drives the latest versions of Avid's Pro Tools (12.3 and 12.4) and recommends them both, claiming they contain "useful and productive enhancements that you'll want to have when recording and mixing." f And They're Off...! POST SCRIPT While you've probably heard or read a lot (too much) from the presidential candidates, the opposite is true for this year's Academy Awards nominees — especially those in the post-production categories.

Articles in this issue

Archives of this issue

view archives of CineMontage - Winter 2016