Editors Discuss Editing Star Wars: The Force Awakens
With the tremendous success of Star Wars: The Force Awakens, we thought our video editor customers - professional or budding - would like this interaction with the film's editors Mary Jo Markey, ACE and Maryann Brandon, ACE.
....Which brings us to J.J. Abrams' longtime editors, Mary Jo Markey, ACE and Maryann Brandon, ACE.
They've worked together with him since the TV series Alias in 2001; Mary Jo actually going back to the show before, Felicity, where she edited the first hour of TV that J.J. ever directed, in 1997. Their features with J.J. also include Mission Impossible III, Super 8, Star Trek, and Star Trek Into Darkness.
(They've also each worked on pictures and series on their own. For example, Mary Jo edited The Perks of Being a Wallflower and won an Emmy for her work on the pilot of Lost. She started in LA working for Robert Redford, as Dede Allen's apprentice for The Milagro Beanfield War. Maryann's work has included editing How To Train Your Dragon and directing a couple of episodes of Alias. She started in New York, on Francis Ford Coppola's Cotton Club.)
Having worked with them for so long, J.J. has explicitly tasked them with being his eyes and ears in the edit room. He's a very active, engaged director, but the demands of managing enterprises on the scale of Star Trek and Star Wars means that it's impossible for him to watch all the dailies. Certainly not with the attention that Maryann and Mary Jo do.
[continue to the full article]
Editing Star Wars: The Force Awakens
CreativeCow blog by Tim Wilson....Which brings us to J.J. Abrams' longtime editors, Mary Jo Markey, ACE and Maryann Brandon, ACE.
They've worked together with him since the TV series Alias in 2001; Mary Jo actually going back to the show before, Felicity, where she edited the first hour of TV that J.J. ever directed, in 1997. Their features with J.J. also include Mission Impossible III, Super 8, Star Trek, and Star Trek Into Darkness.
(They've also each worked on pictures and series on their own. For example, Mary Jo edited The Perks of Being a Wallflower and won an Emmy for her work on the pilot of Lost. She started in LA working for Robert Redford, as Dede Allen's apprentice for The Milagro Beanfield War. Maryann's work has included editing How To Train Your Dragon and directing a couple of episodes of Alias. She started in New York, on Francis Ford Coppola's Cotton Club.)
Having worked with them for so long, J.J. has explicitly tasked them with being his eyes and ears in the edit room. He's a very active, engaged director, but the demands of managing enterprises on the scale of Star Trek and Star Wars means that it's impossible for him to watch all the dailies. Certainly not with the attention that Maryann and Mary Jo do.
[continue to the full article]
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