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View Kaye Berry's profile on LinkedIn, the world's largest professional community . Kaye has 3 jobs listed on their profile. See the complete profile on LinkedIn. Biddulph Grange Garden, new National Trust Garden, 2(8) Bilikowski, K. on Hampshire's Countryside Heritage: Historic Parks and Gardens, No. – Charities Act of , relationship to NCCPG, 3(2):6 'Crewdson Hybrid', No. as his relationship with that magazine spanned 35 years, and the collection and , 'Pacific Trust Territory,' folders , , and
I will add that the search committees did listen to a lot of voices before they even decided which headhunters to use, which bodes well as long as they see a need for more balance in the museum's programming. This means major contemporary retrospectives like Rauschenberg, Tuttle or even Andrea Zittel need to come here. Donald Judd would be a dream come true in a city with so many design firms. Hopefully, the eventual appointment of a cultural leader maybe without glaring weaknesses this time will have a ripple effect on other organization?
In the same article D. He's a super nice guy from the Pacific Northwest whom I met at Greater New York in I have more reservations about his work though He was also part of the latest and altogether stillborn Whitney Biennial.
Still, on his home turf I suspect he will go beyond just incorporating trees and Viking motifs, this isn't New York and using such materials in the Pacific Northwest asks that the ante be upped, he knows the trees are bigger here and we see em all the time.
Hilda Morris, Sea Drum, Cement and pigment over metal. It's a lively, Jed Perl-esque jaunt about Hilda Morris and adds all sorts of human interest tidbits that one often finds in newspapers. One important note though, Morris was an abstract expressionist sculptor, and there are very few of them that were of any note.
Hilda Morris might not be David Smith but she's better than most of the others and instead of constantly pairing her with her husband who's a fine artist but not of Hilda's caliber Her work can be found all over the East Coast too her career wasn't just Portland and Seattle.
Also, in case you've been under a rock you know there is a Donald Judd retro-er-um-auction-exihibition going on in New York till May 9th and The New York Times and the VVoice are catching up to Tyler Green's reporting here; 1234. Whatever the type of movie, the job is the same for me. Action genre movies like Armageddon or Unstoppable, require a lot of coverage and edits to create excitement.
A drama requires a different approach. But emotion is the common element on all movies. I spend more time with them than my family so I want it to be a good experience.
To be a good editor you need sensitivity, an understanding of human nature, to be able to judge performance, and have a sense of timing and pacing. Though pacing has evolved over time. Things have gotten much faster, just like the real world. For me technology has made things much better.
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With the Avid I can see the coverage immediately. I can also add as many music and sound effects tracks as I want. If not we can make adjustments as we go along.
If a scene feels right, moves right, move on. An editor needs an inmate sense of the rhythm of the spoken word. I always come back to music.
Or at least the dynamics in music. Film should have light and shade - or loud and soft, fast and slow. If directed and performed well editing is easy because those things are intrinsic to the words on the script page and the performances on set. As little intervention as possible is the ideal.
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The best editing work is not invisible. I won an Oscar for Chicago which is about as flashy a piece of editing as they get. But it was shot to be that. Choppy, uneven cutting bumps for the viewer, takes them out of the story for a split second. The aim is to make a scene feel like a single piece of film regardless of the number of cuts. Editing is more labour intensive now. In the pre digital age at least we had to get out of the chair to fetch a box of film from across the room. Your eyes are knackered by the end of the day too.
None of that is much of an advert for going into the editing business! We do more sound and music editing in the early days of production. Everything we share with them has to appear to be a finished film. Sometimes even before a full first draft of the script has been written.
We might even be working off a pitch outline that the writer is still working on. In animation, the Avid is almost used like a word processor in that the director and writer will be reacting to our story reel and using that as inspiration to continue refining the script. I may work for one to three years before animating the movie. Once you all agree that it is working, only THEN does the movie get shot. Well, this is how we make animated movies.
Spending years working alongside a director and forming a deeper creative bond is one of the great joys of doing an animated film. With that comes the trust you get with a strong collaboration. I get to have more creative input in the films I cut than I ever did on live-action films just based on the fact that I can ask for a new shot, sometimes entire scenes to solve story problems.
A big trade off is that while you have a larger degree of creative control, it is all very detail oriented, much more so than for an editor in live action, and it can very much be like creating in slow motion. There are times I wish I could get already shot footage to build action sequences rather than having to plan everything out, painstakingly cut for cut before I get any moving footage.
Second guessing can drive you crazy. Live-action has the immediacy of touching on the first instinct and moving on. It can be harder to trust something that everyone in the room has stopped reacting to.