Tag Archives: editing

Editing ROY’S WORLD has been a blast.

When we started editing Roy’s World: Barry Gifford’s Chicago, my editor Marianna Milhorat lived in Pilsen, right here in Chicago on the south side. That’s about a 45-minute trip via CTA from my own apartment. No big deal. But this … Continue reading

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To juxtapose is to connect: Marianna Milhorat joins ROY’S WORLD.

I am thrilled to announce that Chicago-based filmmaker Marianna Milhorat will be editing Roy’s World: Barry Gifford’s Chicago. I first came across her work earlier this year when I attended Chicago Film Archives’ annual Media Mixer at the Hideout. Drawing … Continue reading

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Bringing it on home.

Last Sunday morning just before 9 o’clock, I dashed through the rain to the front porch of Nick’s house in Littleton, Colorado and rang the bell. I was holding a bag of donuts, a cup of coffee, and my trusty … Continue reading

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Sound, then vision.

The soundtrack for the film is complete! Make that soundtracks: the theatrical version will have a three-channel soundtrack (left-center-right) while the “home video” (i.e. streaming) version will be in stereo. All the original live sound for the film was, of … Continue reading

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The length.

Ladies and gentlemen, we have a final running time of 78 minutes.

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How the sound sounds.

Now that the Kickstarter has concluded I’ve been able to get back to the nuts and bolts work of finishing the film. Over the weekend I had the chance to listen to the first complete rough mix of the soundtrack. … Continue reading

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Picture lock.

For once, Wikipedia’s definition is best: “Picture lock is a stage in editing a film or editing a television production. It is the stage prior to online editing when all changes to the film or television program cut have been … Continue reading

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About that trailer.

For about a month now, off and on, I’ve been working on putting together a trailer for the movie. And I can tell you that in many ways it’s been tougher than editing the film itself. I can see why … Continue reading

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The big three.

The “substance” of the film, i.e. the stuff of which it’s made: at moments it feels almost contemporary, at other moments it’s archaic. But the film itself never “talks” about this. Central relationship: R and D live together, “work” together, … Continue reading

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On feedback and criticism.

The feedback that every filmmaker hates and yet needs to hear goes something like this: “Your movie is wonderful! But … what if you rethought the whole project, took a completely different tack and overhauled it?” Whether you (reluctantly) agree … Continue reading

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