Post New York Alliance Podcast

POST BREAK 2: PIVOTING IN POST (audio) The 2nd installment in our PNYA POST BREAK series - this week “Pivoting in Post” – about career moves made sideways, up, down and all around. Why did our panelists decide to change paths and how they did they make the jump from facility to scripted, reality to scripted TV? And how did they make the move from production camera loader to feature AE? How did starting in features, stepping into reality and back to scripted again, make them a better Editor?  POST BREAK: Pivoting in Post Thursday, April 30th at 4pm on Zoom PANELISTS: Inga Moren - Assistant Editor: The Photograph, 15: A Quinceañera Story, Sleepless in America Veronica Vozzolo - Assistant Editor: Billions S5, Da 5 Bloods, She's Gotta Have it S2 Christina Delerma - Post Supervisor: various projects Jigsaw Productions, Lenox Hill Docuseries, Mayday (Indie) Jamie Kirkpatrick - Editor: Gravesend, Critical Thinking, We Summon the Darkness Moderator - Kendall McCarthy: Post Producer: Tales of the City, The Americans, The Looming Tower

  The Hackers Agenda: Security Risks In Post Production   Listen to the PNYA discussion about the state of our security in the post production industry from the national, facilities and risk management perspectives with our panelists:    Tim Lunderman- Principal Consult, Federal Security at World Wide Security Peter Marshall- Managing Director of Dewiit Stern Rob DeMartin- COO/President of Technicolor Postworks, New York. and moderator Larry Scherer - State & Broad. This podcast was recorded thanks to the staff at the Dolby 88 screening room, and was produced by Alchemy Post Sound and the PNYA.

WHAT SHE SAID: Women Leaders in Post Production and How They Rose Above the Rest In an often male-dominated world of the film and television post production, find out how this post-producer, picture editor, sound editor, music editor and composer made their way to the top. Suzana Peric, Music Editor has been active in post production since 1981. Growing up in Croatia she attended conservatory and was on track to be a concert pianist — until she suffered a block during a performance, which ended that career. She studied film in Chicago where she gravitated towards picture editing and got a PA job on Arthur Penn’s Four Friends (1981). She then joined the post-production of the film, which brought her to New York. There, she apprenticed in sound and picture until a music editor asked her to be his assistant. Since that discovery, Peric has been music editor for the likes of Mike Nichols, Martin Scorsese, Jonathan Demme, Peter Jackson, Roman Polanski, Robert Benton, Wes Anderson and David Cronenberg, to name but a few, most of these with repeat collaborations. Her most recent work with Demme is Ricki and the Flash. Nancy Allen, Music Editor discovered music editing at NYU, where she attended the graduate program in Music Technology. It was in the Audio for Video class that she met Suzana Peric, the music editor with whom she worked for nearly 10 years, and learned almost everything she knows about the craft.  Since then, Nancy has worked on films with Darren Aronofsky (Black Swan, Noah, the upcoming film MOTHER!), John Cameron Mitchell (Short Bus), Paul Haggis (The Next Three Days), Julie Taymor, Barry Levinson (Liberty Heights, You Don’t Know Jack) and David Frankel (Hope Springs, One Chance, Collateral Beauty). She has been nominated for 2 Golden Reel awards (winning for Lord of the Rings) and was part of the Emmy award-winning team for the sound and music on HBO’s Bessie. Eliza Paley, Sound Editor has worked in film, production and post for over 30 years. Beginning in location mixing, moving gradually to the editing room and then to sound editing where she has had an established career since 1988. As supervising sound editor, Eliza has worked with numerous talents including Robert Altman (A Prairie Home Companion, The Company, Tanner On Tanner, Short Cuts), Cary Fukunaga (True Detective), and Hector Bebenco (Caradiru, Foolish Heart). Eliza had Co-Supervised or Supervised Dialogue/ADR editing for directors including Todd Haynes (Wonderstruck, Carol, Mildred Pierce, Velvet Goldmine), The Coen Brothers (Hail , Caeser!) and Julie Taymor (Across the Universe, The Tempest). Additionally she was a sound editor on numerous well known films including Adventureland, Age of Innocence, Casino, Last Temptation of Christ, Crooklyn, Malcolm X, The Hudsucker Proxy, Pret-A Porter and The Wrestler. Wendy Blackstone, Composer has composed original film scores for over 130 film and TV projects, 9 of which have been nominated for or won Academy Awards. Feature films include: New Jersey Drive directed by Nick Gomez and The Dutch Master directed by Susan Seidelman. Wendy has scored 5 Primetime TV series:  For The People (Lifetime, drama), and MasterClass (HBO). Recent documentaries include: The Girl In the River for HBO, I am Not Your Guru: Tony Robbins, Larry Kramer In Love and Anger, which premiered at Sundance 2015, Dangerous Acts Starring the Unstable Elements of Belarus (HBO), Whitey (CNN), Weight of the Nation (HBO), Crude, and Alive Day Memories: Home from Iraq (HBO). Wendy’s work in theater includes Anna Deavere Smith’s Tony-nominatedTwilight: Los Angeles, directed by George C. Wolfe for both the Public Theater and Broadway’s Cort Theatre. Susan Lazarus, Producer, Post Producer, Post Production Supervisor, began as an Assistant Editor and Sound Editor on documentaries including the Academy Award-nominated feature,The War At Home, and was a producer on Image Before My Eyes. She then moved into narrative film on Reds (Warren Beatty) and The King of Comedy (Martin Scorsese). Susan combined producing and editing knowledge to become one of New York’s first Post-Production Supervisors for feature films such as Mississippi Masala (Mira Nair), The Boxer (Jim Sheridan), Inside Man (Spike Lee), Foxcatcher (Bennett Miller). Only Lovers Left Alive and Paterson (Jim Jarmusch). Non-Fiction projects include Naqoyqatsi (Goddfrey Reggio), Apache 8 (Sande Zeig) Love, Marilyn (Liz Garbus), and The Jinx: The Life and Deaths of Robert Durst (Andrew Jarecki). She was Co-Producer of the feature Sophie and the Rising Sun (Maggie Greenwald). Kristina Boden, Picture Editor credits include work with directors such as Brian DePalma (Carlito’s Way), Mira Nair (Kama Sutra, My Own Country, Hysterical Blindness), Lodge Kerrigan (Claire Dolan), Paul Schrader (Light Sleeper, Auto Focus) and Lasse Halstrom (Dear John). Isabel Sadurni, Moderator, Picture Editor/Producer, To find out more, please visit: www.isabelsadurni.com    

PART 7. THE END/ REBIRTH In 2012, Sound One, possibly the most successful post-production facility in New York City’s history, closed its doors after 44 years of business. What caused the demise of Sound One is a point of contention between the clients, former owners, founders and staff, who hold multiple theories about why it failed financially. Some blame a distant holding company in Denver who some say were out of touch with the needs of the local community in New york and undermined the business practices which required creative and financial flexibility to maintain its base of both established and up and coming filmmakers. Others cite a long process of chipping away at the character of Sound One over a period of time during which the company was bought and sold five times to various entities. Here former staff and clients explain in their words, how the end of Sound one came to be and how in the wake of its undeniable force created new pools of talent and multiple post-production facilities in New York, all of them strengthened by the work ethic and familial bonds of developed at Sound One. The Sound One Era: 1968-2012 is a multi-part series for Frame By Frame a podcast co-presented by Motion Picture Editors Guild and Post New York Alliance. Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.  

PART 6. LEADING THE DIGITAL REVOLUTION The dawn of the digital era marked a major pivot point in post production technology that left some behind in analog while others charged fearlessly into a brave new world. Sound One led the post-production digital revolution, testing software, and equipment for the film industry before Hollywood, to ensure a smooth transition into the Digital Age. In this episode, former Sound One staff and clients discuss navigating the technological changes from analog to digital in the film and television sound editing medium in the late 80’s and 90’s. The Sound One Era: 1968-2012 is a multi-part series for Frame By Frame a podcast co-presented by Motion Picture Editors Guild and Post New York Alliance. Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.