EVENTPROGRAM
POST PRODUCTION SUMMIT NYIT AUDITORIUM ON BROADWAY 1871 BROADWAY, NEW YORK CITY THURSDAY, JUNE 13, 2019 4:00PM –10:00PM
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Welcome to
SIGHT, SOUND & STORY 2019 I
n 2005, we launched a series of public events with prominent film editors - providing an intimate and casual environment where both students and members of the local film community could gather and explore the art of visual storytelling. From those events, we began co-producing ACE’s EditFest NY, an all-star lineup of the industry’s most exciting and expressive talent. Over time, June became a beacon - a welcome friend we looked forward to seeing each year. After six years of successful runs of SIGHT, SOUND & STORY, including four years of our Cinematography focused event in the Fall; we are bringing back another event that digs even deeper into the concepts of storytelling – from television and documentary editors to one of the industry’s best editors, Mary Jo Markey, ACE. SIGHT, SOUND & STORY is where we hope many pieces of the post puzzle fit together, a familiar enclave for the creative exchange of ideas and a celebration of the collaborative process of making movies and television. —Josh Apter Sight, Sound & Story Executive Producer
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SIGHT SOUND & STORY IS SPONSORED BY: TECHNOLOGY SPONSORS
SUPPORTING SPONSORS
ORGANIZATION PARTNERS
MEDIA PARTNERS
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manhattan edit workshop
SIGHT SOUND & STORY STAFF
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JOSH APTER
Sponsorship Director & Producer mvalinsky@me.com
JASON BANKE
Event Producer tristan@mewshop.com
JANET DALTON
Event Producer pattykkisco@gmail.com
Executive Producer info@mewshop.com
119 W 23rd Street Ste 700 New York City Tel:212.414.9570 www.mewshop.com twitter @mewshop @sightsndstory
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MICHAEL VALINSKY TRISTAN LEDWIDGE
Executive Producer jason@mewshop.com
PATTY KIERNAN
Producer janet@mewshop.com
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RIVA DANZIG
Program Guide Designer riva@danzigdesign.com
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SIGHT, SOUND & STORY
flipstock Enough 4k and HD videos to make your head spin. Visit shutterstock.com/footage
It’s not stock. It’s Shutterstock.
SCHEDULE
*All speakers are schedule permitting.
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3:30pm:
CHECK-IN 4:00pm:
OPENING 4:15 - 5:15pm:
ANATOMY OF A SCENE: DECONSTRUCTING DOCUMENTARY FILMS MODERATOR: Jeremy
Workman (Magical Universe, The World Before Your Feet) SPEAKERS: Carla Gutierrez, ACE (RBG, La Corona, Chavela) and Jean Tsien, ACE (Scottsboro: An American Tragedy, Dixie Chicks: Shut Up & Sing) 5:30 - 6:30pm:
THE EMERGENCE OF PEAK TV: TELEVISION’S CINEMATIC REVOLUTION
MODERATOR: Gordon Burkell (AOTG.com) SPEAKERS: Kate Sanford, ACE (The Marvelous
Mrs. Maisel, The Deuce, The Wire) and Leo Trombetta, ACE (13 Reasons Why, True Detective, Mad Men) 6:45 - 8:30pm:
“INSIDE THE CUTTING ROOM WITH BOBBIE O’STEEN”: A CONVERSATION WITH ACCLAIMED EDITOR MARY JO MARKEY
MODERATOR: Bobbie O’Steen “Cut to the Chase,” “The Invisible Cut” SPEAKER: Mary Jo Markey, ACE (Star Wars Episode VII: The Force Awakens,
Star Trek, Mission Impossible III, Charlie’s Angels) 8:30 - 10:00pm:
sponsored by American Cinema Editors
NETWORKING PARTY & TECH LOUNGE
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EDITING STAR WARS: THE FORCE AWAKENS I
tried to remain objective and focused on the interview questions when I started watching Star Wars: The Force Awakens but the moment Rey and Finn took off in the Millennium Falcon I became a kid again. I lost myself in the film; the sounds gave me goosebumps; the tight, intense editing had me on the edge of my seat; and the near misses of shots and close quarters of the chase made me want to jump up and yell “YEAH!!!” That’s why I was so excited and nervous when doing this interview with Mary-Jo Markey, the kid in me got lost in the world of Star Wars, taking adult me with him. I do have one disclaimer before you continue reading - I am a fan of Star Wars, but not an obsessive fan.
By Gordon Burkell I’ve seen the movies, and even a bit of the Star Wars Holiday Special, but I’m not chomping at the bit for every piece of Star Wars information. However, The Force Awakens engulfed me in the sounds, immersed in the visuals, and lost in the story. Aotg.com (AOTG): How did she find out about J.J. Abrams taking this job, and what did that experience feel like? Mary-Jo Markey, ACE: I was just with him, and it kind of seemed very unreal. I couldn’t believe that we were going to be doing something like that. And it just took a long time for it to sink in. AOTG: (laughs) To absorb this information?
Daisy Ridley from Star Wars The Force Awakens
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MJM: It just took a long time for it to sink in. Fortunately, we had a long time for it to sink in. I think it was at least a year and a half, or so, before we started the movie.
Which made me wonder, how was this reflected through the editing? MJM: At one point J.J. had this idea, that Finn and the stormtrooper that calls him a traitor and then takes him on with that huge weapon, would say something to each other, before they started fighting. Something besides traitor, or whatever he said to him. And it just seemed that between the looks that they give each other, and the way that they raise their weapons, it is already a conversation, without having to be [dialogue] focused.
AOTG: With a fan base so rabid, what was the stress and the pressure like? MJM: I think J.J. felt it most of all and I felt it through him as well. We had to honor [the material], and come up with something pretty darn good to give to the fans, but I feel pressure on every film I do. I think I put the rest of it out of my mind for a bit, because like anything that’s big and overwhelming, you have to break it down and do one foot in front of the other, and just make scenes great. It was later on that I realized, “Oh my God, there’s a rabid fan base out there…”
AOTG: What was it like having to create and communicate emotions when you were editing the droids C-3PO and BB-8? MJM: C-3PO is all in the voice. We did a lot of ADR sessions with him [Anthony Daniels], and he’s been doing that character for such a long time. Also, C-3PO is not as good an example because he’s actually in the suit. His mannerisms...
AOTG: That’s where that question came from, because I was like, “man, they must be trying to match the history, and make sure everything’s perfect, just because of the possibility that someone’s going to double check it on the Internet.”
AOTG: BB-8, yeah. MJM: BB-8 is really the magic. The puppeteer who operated him was phenomenal, and kind of made little sounds and turned his head at the right time and we had a sea of BB-8 footage for all the scenes that he was in. We’d pick and choose what we’d use. The simplicity of BB-8’s design is so amazing. So even in finding a voice for him, it was really complicated. At some point I thought, we don’t really even need to find a voice for him because he’s just so expressive in his look.
MJM: I researched everything. I mean, I didn’t - there is an expert at Skywalker Ranch, named Pablo [Hidalgo], who worked for Lucasfilm, and he is the expert on Star Wars. We had a couple of instances where the character said ‘radar’ instead of ‘sensors’, and Pablo would nab that and say, “They never say ‘radar’ in Star Wars.” AOTG: Oh wow. MJM: We did check everything. We didn’t leave that to chance. AOTG: When researching for this interview, I came across J.J. Abrams discussing the lightsaber battles and how they reflected dialogue scenes. n
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AOTG: You’ve had to sit on this film, and weren’t allowed to talk about it for however long you were cutting it, until n
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John Boyega from Star Wars The Force Awakens
its debut. What were you most excited for the audience to notice, and why?
Just, really hoping that people would feel some of what they felt when they saw the original. And also that a whole other generation would maybe discover it, that never had before. n
MJM: Sitting on it and not being able to talk about it is nothing new to me, I’ve been on the Star Trek movies, and I did the Lost pilot. I’m pretty used to that tight-lipped thing of having to go through the film process and not saying anything. However, it was just hoping that people would feel the same spirit that they felt in the first movie - just a sense of fun, and delight, and adventure, and joy of being with their old friends, Leia and Luke and Han, - and then that they would embrace these new characters that we’ve really come to love. Everyone involved in the film just loved the actors and the performances, and they’re all such nice people. I’ve really come to embrace them and for me, it was that.
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About Gordon Burkell: Gordon has worked in the film industry and as a film editor for 10 years. He started Art of the Guillotine to help build a community for editors and to create a vehicle to help editors and film academics share their knowledge and expertise to improve the art form. He currently lives in Toronto, Canada where he edits and teaches film editing at Ryerson University. Go to aotg.com for more information.
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THE ART OF THE CUT WITH LEO TROMBETTA, ACE Leo Trombetta, ACE has profession-
By Steve Hullfish
Vanities and David Mamet’s Homicide. Trombetta won an Emmy and an ACE Eddie for editing Temple Grandin for HBO Films as well as additional Eddies in 2011 and 2012.
al credits dating back into the mid-1980s and has been in the editor’s chair since the early 1990s. He has edited more than a dozen feature films, like Twin Falls Idaho and a range of TV shows like WB’s Roswell, Michael Mann’s Luck for HBO, AMC’s Mad Men, FOX’s Wayward Pines, Netflix’s Narcos and 13 Rea-
STEVE HULLFISH (SH): Tell me a little bit about your approach to editing. LEO TROMBETTA (LT): The truth is I find answering questions about editing difficult because, for me, editing is an intuitive process. I don’t really know why some things work and some don’t. I just know what feels right. It’s been my experience that the less I think about what I’m doing and trust my gut, the
sons Why, and HBO’s True Detective.
He has also worked as a sound editor on such films as Bonfire of the
Stephen Dorff and Mahershala Ali from True Detective Season 3
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SIGHT, SOUND & STORY
THE #1 RESOURCE FOR POST PRODUCTION WORK. Join the global network of post production professionals on ProductionHUB. Find thousands of opportunities for Editors, VFX Artists, Colorists and more. What are you waiting for?
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Jon Hamm from Mad Men Season 5
more successful I am. That’s not to say that there aren’t rules. It’s just that the best work always seems to come from a place deeper than my conscious brain. It’s difficult to analyze and, whenever I’m asked to do so, I find myself making shit up, pretending, after the fact, that there was an overriding philosophy or formula dictating the choices I made when, in fact, I was just “winging it” – responding to the material in a personal way and doing my best to deliver the intent of the scene as best I could.
teenager, I used to take my camera to rock concerts and shoot roll after roll of Kodachrome -- putting the footage together later in my bedroom, learning by osmosis about screen direction and matching cuts. SH: Do you have any editing heroes? Who are they and why? LT: I never had any editing heroes growing up – editors being the unsung heroes in the filmmaking process – but there were certain sequences and moments that made an impression on my young mind. Frank Mazzola’s montages in Peter Fonda’s The Hired Hand made a huge impression on me (and, I suspect, others as I seem to detect some influence in the editing of Apocalypse Now.) I also enjoyed
SH: What got you interested in editing? LT: I’ve been editing since I first started making my own 8mm movies when I was 10 years old. Then, as a n
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SH: When you watch the editing work of others - maybe to vote in the Emmys or Eddies or Oscars - what makes one movie or TV show stand out against the others as being well edited? What appeals to you in the editing of others? What stood out for you when you watched a movie or TV show and felt the editor did a great job?
Peter Hunt’s bold jump cuts in the early James Bond films. SH: What is your basic approach to cutting a scene? How do you begin to attack it? Do you use selects? What sense tells you that you’re done working on the first pass at a scene and that you’re ready to show it to a director or move on through the process?
LT: As editors, we practice what my high school English teacher referred to as “the art that conceals art.” It’s impossible for anyone to know how difficult a scene was to cut without having access to the original dailies to see what problems he or she might have had to work around. This is why it’s understandable, although no less frustrating, that the flashiest, most apparent, editing is the one that usually gets the kudos.
LT: A question I occasionally get when I’m interviewing for a job is “how would you cut this particular scene?” and my response is always “it depends on how the director shoots it.” That said, I approach every scene as if I were directing or storyboarding it. Having read the scene to understand it’s intent, I look at the material that’s been given to me and choose the shot that I feel will open the scene best. Then, it’s a matter of choosing the best place to be, moment by moment. Of course, I often have to make adjustments based on my not having a shot I would like or because of a performance that is either so compelling that you can’t cut away or, conversely, so lacking in emotion that you have to protect the actor and convey the emotion through other means – either by judicious cutting around the weaknesses or sometimes by taking more emotional line readings and placing it in their mouths. (I once cut a scene where the emotion on the actor’s face was so powerful that every other take paled in comparison. However, the actor’s voice was far too shrill and was pushing too hard. We ended up replacing every line of dialogue from various other takes and, amazingly, that scene was cited in a number of reviews for its emotional power.) n
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SH: Discuss the importance of sound editing and sound design in helping to sell the visual cuts and in keeping the audience in the story. LT: I’d like to make a distinction between editing and cutting. First of all, let me say I hate when editors are referred to as “cutters” like we work in the garment industry or something. It’s a term that goes back to the old studio system – the “dream factory” -- and implies that all we do is take someone else’s pattern and mindlessly assemble it for the “more creative people.” Maybe I’m taking this whole thing a little too personally. Unfortunately, there are a number of producers who see us that way. To me, cutting is the technical end of what we do. Not that it isn’t important and doesn’t require a certain imagination, but it is basically, a skill that can be acquired and perfected the more n
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experience you gain. Editing, on the other hand, requires an understanding of story structure along with a sense of music and even, if you’ll excuse the pretention, poetry. A talented editor can help tell a story by removing unnecessary beats or lines of dialogue, by restructuring scenes or changing their sequence; often eliminating them completely. It may be a cliché but it’s also true: the editing room is where the final re-write is done.
where all the angles from the various cameras are linked together in one clip making it possible to switch between angles with the touch of a key. SH: What affects your sense of the micro-pacing or shot-to-shot pacing of a scene? How do you know you’re “in rhythm?” LT: Pacing is a recurring issue when I’m editing a scene. Sometimes an actor will pause a little longer than you’d like while delivering a line and, in a case like that, rather than cut away from him to pace it up, I often rely on two effects in particular: the fluid morph and the split-screen. The fluid morph allows you to make a jump cut and then “morph” both sides of the cut so that the jump is imperceptible. I use the split-screen in conjunction with the fluid morph when there is someone else in the frame whose face or position would noticeable shift at the jump. This of course only works if the camera is steady or, in the case of a hand-held close-up, if you choose a spot to make your cut where the camera would be in the relatively same position. A lot of trial and error goes into this as you can imagine. n
SH: I don’t parse the words “cutting” and “editing” quite so finely… But I see your point on the importance of differentiating the technical from the artistic. Discuss the importance of the sound editing and sound design in helping to sell the visual cuts and in keeping the audience in the story. LT: I was a sound editor for a number of years and can’t underestimate the importance of sound in creating an environment or even allowing you to disguise some outrageously bold cuts that would be jarring without it. (Try watching GoodFellas with the sound muted and you’ll see what I mean.) SH: How do your assistants prep scenes for you? LT: On the technical side, due to the advent of digital cinematography, even a relatively, simple dialogue scene will be covered by 2, 3, and even 4 cameras. In these cases, I always like to work in “group clips”
Read more from Steve Hullfish’s “Art of the Cut” series on www.ProVideoCoaltion.com or follow him on Twitter at @ stevehullfish.
A “virtual roundtable discussion” with more than 50 of the top editors from around the globe, including winners of more than a dozen Oscars for Best Editing and more than 50 Oscar nominees, plus many Emmy winners and nominees. “The depth and insightfullness of [Hullfish’s] questions makes the answers so much more interesting than the garden-variety interview. It is truly a wonderful resource for anyone who is in love with or fascinated by the alchemy of editing.” Available — Dody Dorn, ACE, Oscar nominee on Amazon n
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SPEAKERS AT SIGHT, SOUND & STORY n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n
GORDON BURKELL is an editor who has been in the industry for 15 years, editing predominantly documentaries. He is the founder of aotg.com, a site that shares and organizes new information and news for post professionals, recognized as one of the top sites for the film industry by MovieMaker Magazine. The site includes Aotg.tv, The Cutting Room Podcast, and mobile apps to keep post professionals up to date on current post news. Gordon currently teaches and hosts panels, events, and lectures at Ryerson University. CARLA GUTIERREZ, ACE, is the editor of the Oscarnominated film La Corona and the Emmy-nominated documentaries Reportero, Kingdom of Shadows, and Farewell Ferris Wheel. Her latest film the Oscar-nominated RBG, about the life of Supreme Court Justice Ruth Bader Ginsburg, premiered at the 2018 Sundance Film Festival and was theatrically released by Magnolia Pictures and Participant Media. RBG has become the highest grossing film for Magnolia. Carla’s recent film, Chavela, premiered at the 2017 Berlinale Film Festival where it won the 2nd place Audience Award in the Panorama section. Chavela went on to win both the Audience and Grand Jury Awards at L.A. Outfest, and the Audience Award at Frameline. The film has had a wide theatrical release in Mexico to rave reviews. She also edited When Two Worlds Collide, which won a Special Jury Award at the 2016 Sundance Film Festival and Best Documentary awards at Docufest, Madrid, Mumbai, and Shanghai International Film Festivals. When Two Worlds Collide was nominated for a Cinema Eye Honors Award for Outstanding Achievement in Debut Film.
BOBBIE O’STEEN is a New York-based writer and film historian, dedicated to sharing the editor’s invisible art with students, professionals, and the movie-going public. She is an Emmy®-nominated editor and author of two acclaimed books about editing: “Cut to the Chase,” based on interviews with her late husband and colleague, legendary editor Sam O’Steen; and “The Invisible Cut,” which deconstructs classic movie scenes through a cut-by-cut analysis. Her latest book is an authoritative, media-rich eBook called “Making the Cut at Pixar” about the editor’s pioneering role in computer animation.
MARY JO MARKEY, ACE, is an accomplished editor in both film and television. After her studies in English Literature at Ohio State University and her move to the west coast, she got her first look at a cutting room and what editors do while working as n
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an assistant to Robert Redford, and from that moment she wanted to know more. With Redford’s help, Markey was hired to be an apprentice to Dede Allen in the Milagro Beanfield War cutting room, which was the beginning of her editing career. After cutting a series of independent films and television movies, Markey began her collaboration with JJ Abrams as one of the editors of the TV series Felicity during its first three seasons (1998-2000). Markey then moved over to edit the first two seasons of Alias, during which she received her first Emmy nomination. Later, in 2005, Markey won the Emmy for Drama Series Editing for her work on the Lost pilot. In 2006, Markey’s collaboration with JJ Abrams moved to the large screen with Mission Impossible III. Their work together continued with the HBO pilot Anatomy of Hope, 2009’s Star Trek (which led to an ACE Eddie nomination), the Undercovers pilot, Super 8, and Star Trek Into Darkness in 2013. Besides projects with Abrams, Markey has edited the award-winning HBO film Life Support, which was selected as the closing night film for the 2007 Sundance Film Festival (and brought her an additional Emmy nomination as well as an ACE Eddie nomination), The Perks of Being a Wallflower, The Great Wall, directed by master of Chinese cinema Zhang Yimou, and the sci-fi thriller Life. But the highlight of her credit list has to be Star Wars: The Force Awakens, which is still the domestic box office champ in the US by a wide margin, and which resulted in an academy award nomination and an additional ACE Eddie nod for Markey.
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Bobbie moderates one-on-one panels with master editors at EditFest for American Cinema Editors, and has partnered with Manhattan Edit Workshop to host her continuing event series, ”Inside the Cutting Room,” honoring editors through screening and discussion. She has lectured at the American Film Institute, John Hopkins University, Emerson College, UCLA, and taught graduate school workshops at NYU’S Tisch School of the Arts. She has also created an ongoing class series, “Making the Cut,” where she explores the art and techniques of the editing process, based on her interviews with more than sixty editors. She also contributes commentary and interviews that focus on editing for The Criterion Collection DVD/Blu-Ray releases. O’Steen has written articles for such publications as Cinema Editor Magazine, which named her “Film Editing’s Greatest Champion.”
directors as Brian DePalma (Casualties of War, Bonfire of the Vanities), Sidney Lumet (Q&A), David Mamet (Homicide) and Spike Lee (School Daze). Leo currently resides in Los Angeles and is a member of the American Cinema Editors, SAG-AFTRA, the Academy Of Motion Picture Arts and Sciences, and The Television Academy. JEAN TSIEN, ACE, has been working in documentary for 35 years as an editor, producer, and consultant. Her notable editing credits include the 2001 Academy Award nominee, Scottsboro: An American Tragedy; three Peabody Award-winning films: Malcolm X: Make It Plain, Travis, and Solar Mamas; Something Within Me, Dixie Chicks: Shut Up & Sing, and Miss Sharon Jones! All were shortlisted for the Academy Award for Best Documentary Feature. Her most recent work The Apollo was selected as the opening night film at the 2019 Tribeca Film Festival. Tsien was an executive producer and editor on Plastic China, the winner of the 54th Golden Horse Award for Best Editing; The Road to Fame and Please Remember Me. She also executive produced Our Time Machine, 2019 Tribeca Film Festival; All in My Family for Netflix; People’s Republic of Desire, Grand Jury Award winner, 2018 SXSW Film Festival; The Oslo Diaries, 2018 Sundance Film Festival; She co-executive produced Call Her Ganda and Blowin’ Up, which both premiered at the 2018 Tribeca Film Festival.
KATE SANFORD, ACE, is a feature film and television editor whose most recent project is the upcoming miniseries Fosse/ Verdon. She recently completed the first two seasons of The Marvelous Mrs. Maisel and won the ACE award for best-edited comedy. Between seasons she edited The Deuce for writer/showrunner David Simon. Their long-running collaboration includes the 6-part miniseries Show Me A Hero, the pilot for Treme (for which she won an ACE award for best-edited drama), and all five seasons of The Wire (for which she also won an ACE award for drama). Other television includes Vinyl, executive produced by Martin Scorsese; all seasons of Boardwalk Empire, and Sex and the City.
JEREMY WORKMAN’s highly-acclaimed documentary The World Before Your Feet (Greenwich Entertainment) is currently in theaters in the US and Canada. His previous documentary Magical Universe (IFC Films) was an LA Times and Village Voice Critic’s Pick when it was released in 2014. His documentary Who Is Henry Jaglom? (First Run Features) won several film festival awards and premiered on the PBS series POV. Additionally, Jeremy is widely known in the industry as the Creative Director of Wheelhouse Creative, a boutique movie marketing and trailer company that caters to indies and documentaries. In this capacity, he has edited nearly 200 movie trailers and been twice-nominated for an Emmy. n
LEO TROMBETTA, ACE has over a dozen credits as a Film Editor including Little Children for director Todd Field and HBO Films’ Temple Grandin, for which he won both an Emmy and an ACE Eddie Award. Leo’s television work includes Netflix’s 13 Reasons Why and Narcos, Wayward Pines, Mad Men, and the Michael Mann/David Milch series Luck. He just finished up editing Season 3 of the HBO series True Detective and will soon begin The Outsider based on the novel by Stephen King. Leo also has an extensive background as a Sound Editor, having worked with such n
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