Issue link: https://digital.copcomm.com/i/711111
5 Q3 2016 / CINEMONTAGE VOL 5 NO 3 / Q3 2016 Editor – Tomm Carroll Art Director – Wm. Stetz/Stetz Design Accountant – Meleney Humphrey Proofreaders – Bill Elias, Edward Landler, Larry J. Tazuma COLUMNISTS Post Script – Tomm Carroll Getting Organized – Rob Callahan Labor Matters – Jeff Burman CONTRIBUTING WRITERS Rob Feld Halima K. Gilliam Joseph Herman Bruce Karder Debra Kaufman Mel Lambert Edward Landler Agustín Rexach Martín Betsy A. McLane Linda O'Hanlon Peter Tonguette CONTRIBUTING PHOTOGRAPHERS John Clifford Martin Cohen Gregory Schwartz Sarah Shatz Wm. Stetz Deverill Weekes ADVERTISING SALES IngleDodd Media Dan Dodd 310-207-4410, ext. 236 dan@ingledodd.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 – mail@editorsguild.com PUBLICATIONS COMMITTEE A.J. Catoline (co-chair) Kevin D. Ross (co-chair) John Axelrad, ACE Jeff Burman Glenn Morgan, MPSE Frank Morrone, CAS, MPSE Richard Sanchez 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 © 2016 The Motion Picture Editors Guild Printed by California Offset Printing, Inc. CINEMONTAGE by Tomm Carroll I f you can get past the non-stop distraction of the build-up to our nation's bitterly contested presidential election, which has been playing across media outlets like a real-time reality show (and even includes a reality TV star as one of the candidates), there is a lot of great and more worthwhile entertainment programming — scripted and unscripted — out there on television, computer and mobile device screens, as well as in cinemas. And all of them feature the work of the post professionals who are Editors Guild members. We include stories on several of these productions in this issue. Due to drop its entire second season on the first Tuesday in September, the bilingual Netflix hit Narcos returns buoyed by several recent Emmy nominations, including one for picture editor Leo Trombetta, ACE. But our writer Mel Lambert focuses on the post-production sound team of the series, which depicts the drug-trafficking exploits of the 1980s and '90s Columbian kingpin Pablo Escobar. The team includes supervising sound editor Randle Akerson, MPSE, ADR supervisor Thomas Whiting, and their sound editorial staff, as well as re-recording mixers Pete Elia, CAS, and Kevin Roache, CAS, and their tech crew. One of the longest-running reality series on American television, CBS' Big Brother, is currently in its 18th season. And Christine Salomon has been its full-time technical director for over half of that impressive run, amassing more than 200 episodes on the show. On top of that, she is one of only six women in the Guild's TD classification. Salomon talks to writer Debra Kaufman about her multiple duties on the show as well as her unique career path — she got her start at Yankee Stadium. Speaking of New York, Brian A. Kates, ACE, is one of the city's in-demand indie editors in both film and television, and has been since the late 1990s. A two-time ACE Eddie Award winner for Best Edited Miniseries — Lackawanna Blues (2005), Bessie (2015) — as well as an Emmy Award for editing (with Lee Percy, ACE) the 2009 miniseries Taking Chance, Kates' upcoming theatrical release is How to Talk to Girls at Parties, and he talks to writer Rob Feld about that film and his collaborations with indie director John Cameron Mitchell. Still in a New York state of mind, we take a look back a couple of decades to one of the quintessential New York historical films, Alan Rudolph's Mrs. Parker and the Vicious Circle (1994), through the eyes and recollections of the film's picture editor Suzy Elmiger, ACE. Elmiger flashes back to the post-production process and working with Rudolph in the editing suite as she talks to writer Peter Tonguette for his recurring "My Most Memorable Film" column. And last but far from least, one of the often-overlooked classifications among Guild members is that of assistant sound editor; yet their skill, talent and dedication ably support the sound team in myriad ways. To correct that oversight, CineMontage spotlights a pair of sound assistants, Kevin N. Nanaumi and Matt "Smokey" Cloud. Both are interviewed by our audio expert — Lambert again — about their varied responsibilities in post sound, along with their education, backgrounds and career goals. f Post-Production Trumps Politics POST SCRIPT