Q1 2018

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5 Q1 2018 / CINEMONTAGE VOL 7 NO 1 / Q1 2018 Editor – Tomm Carroll Art Director – Wm. Stetz/Stetz Design Accountant – Meleney Humphrey Proofreaders – Bill Elias, Edward Landler, Larry J. Tazuma COLUMNISTS President's Message - Alan Heim, ACE Post Script – Tomm Carroll Getting Organized – Rob Callahan Labor Matters – Jeff Burman CONTRIBUTING WRITERS Ned Bastille, ACE Rob Feld Michael Ferdie Joseph Herman Steve Hullfish Debra Kaufman Mel Lambert Edward Landler Betsy A. McLane Peter Tonguette CONTRIBUTING PHOTOGRAPHERS Martin Cohen Christopher Fragapane Sarah Shatz Wm. Stetz ADVERTISING SALES IngleDodd Media Dan Dodd 310-207-4410, ext. 236 EDITORIAL OFFICES 7715 Sunset Boulevard, Suite 200 Hollywood, CA 90046 Phone – 323.876.4770 or 800.705.8700 Fax – 323.876.0861 E-mail – Website – PUBLICATIONS COMMITTEE A.J. Catoline (co-chair) Jeff Burman (co-chair) Dorian Harris, ACE Glenn Morgan, MPSE Frank Morrone, CAS, MPSE Kevin D. Ross, ACE 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 or at 323-876-4770, ext. 222. Copyright © 2018 The Motion Picture Editors Guild Printed by California Offset Printing, Inc. CINEMONTAGE by Tomm Carroll T he recent #MeToo and #TimesUp movements caused a much-needed disruption of the patriarchal power structure in Hollywood (and indeed in most industries), by outing powerful men accused of sexual harassment, abuse and worse. Many of these men's careers and livelihoods were halted, as they were fired from positions, had their contracts cancelled and were dismissed from or lost roles in film and television projects. One of the most high-profile examples was the case of actor Kevin Spacey, whose professional life was altered almost overnight due to multiple allegations of sexual misconduct. He became an instant persona non grata in the industry. Netflix dropped him from projects, including the next season of its hit House of Cards, in which he not only starred but was also an executive producer. However, the most interesting quandary was the one faced by Sony Pictures Entertainment. The studio's all-but-finished, awards-seeking prestige film, Ridley Scott's All the Money in the World, was about to be locked in preparation for a late December release. And it prominently featured Spacey as J. Paul Getty. But rather than shelve the film, postpone its release, or just proceed as planned (none of which seemed an appealing solution), Scott and Sony decided to re-shoot all the scenes with Getty in them, replacing Spacey with actor Christopher Plummer in the role, and keeping the originally announced release date. This, of course, posed an unprecedented and problematic post- production predicament, particularly when the post crew had basically wrapped on the project. But the film's editor, Oscar- winning Claire Simpson, was up to the challenge. And in an exclusive interview with CineMontage, she tells our writer Steve Hullfish how the whole thing went down, and also provides a timeline of the revised post schedule. TV editor Monty DeGraff bemoans the fact that when he was getting started in his career, he didn't have any experienced editors to critique his work or show him how they edited. "I had to find my own way," he tells writer Debra Kaufman in our cover story. To counter that narrative, DeGraff decided that he would share his experience with young assistants eager to learn the craft, and serve as a mentor to them if they were interested. Scoring mixer Bobby Fernandez had plenty of mentors and advisors when he started out long ago as a neophyte in the sound department at Warner Bros. Studios, as he relates to writer Mel Lambert. He remained at Warner for a while and became the studio's staff scoring mixer before going independent several years ago. In fact, his latest film, Clint Eastwood's just-released The 15:17 to Paris — based on a true story of a terrorist attack on a French train — is his 35th collaboration with the director. Another new film based on actual events is Chappaquiddick, the story of how a tragic car accident quashed the presidential hopes of Massachusetts Senator Ted Kennedy. It is due for an April release. The film's editor, Keith Fraase, explains to our writer Rob Feld the challenges he had making sure audiences would have empathy for Kennedy's character, despite his questionable decisions and actions. And last but not least, in October of last year, the Editors Guild Archive was established on the first floor of the LA headquarters. Consisting of historical post-production equipment, as well as photographs, books and more, the archive is overseen by Board member Sharon Smith Holley, who gives writer Edward Landler a rundown of its contents, as well as the goals she envisions. f Spacey Replacey POST SCRIPT

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