11-13-2022, 12:23 PM
A long time ago, in an Edit Bay far, far away by Paul Hirsch
If you want a real nuts and bolts look at editing this is the book for you. I can't imagine any of you want that so this probably isn't the book for you.
Paul Hirsh was Brian De Palma's long time editor, most notably editing Carrie. He also got to work on the original Star Wars. He worked for Herbert Ross, Taylor Hackford and John Hughes. But along the way he fell out with many of the directors or just moved on to other shows. He ran into a lot of the same problems I faced of not really having job security. He even had lengthy fallow periods.
He even worked with Ron Underwood, Tremors director, and didn't have good things to say about him. Not that he was bad, he just didn't have a lot of creativity.
Hirsch does talk about his transition from traditional editing on Moviolas and Kems to using digital editing programs. It was interesting for me to see how he interacted with different directors and their particular quirks. There are also many good sections on the different composers he worked with along the way and how the music affected various edits.
I'm thinking this is a book just for me.
If you want a real nuts and bolts look at editing this is the book for you. I can't imagine any of you want that so this probably isn't the book for you.
Paul Hirsh was Brian De Palma's long time editor, most notably editing Carrie. He also got to work on the original Star Wars. He worked for Herbert Ross, Taylor Hackford and John Hughes. But along the way he fell out with many of the directors or just moved on to other shows. He ran into a lot of the same problems I faced of not really having job security. He even had lengthy fallow periods.
He even worked with Ron Underwood, Tremors director, and didn't have good things to say about him. Not that he was bad, he just didn't have a lot of creativity.
Hirsch does talk about his transition from traditional editing on Moviolas and Kems to using digital editing programs. It was interesting for me to see how he interacted with different directors and their particular quirks. There are also many good sections on the different composers he worked with along the way and how the music affected various edits.
I'm thinking this is a book just for me.
As a matter of fact, my anger does keep me warm