Believe it or not I am more an indie person. Even people who work in film don’t always get it.

So we created the opening title/soundscape sequence about the fallen world and added the opening Max voice- over. How come he didn’t speak? But it was a good exercise as it did get me to question every moment. There is a night scene where the War Rig gets bogged and I have to say we got bogged down here too. I think my greatest achievement was remaining objective right to the end.To read the previous Art of the Cut interviews, use Filmmakers go-to destination for pre-production, production & post production equipment!Sign up for the ProVideo Coalition weekly e-newsletter and get the most popular articles, blogs, and reviews right to your inbox. That really helped me understand the shape of the film. When I watch a film I want to be caught up in it and don’t specifically think about the editing. We kept tweaking right into the final mix (April 2015) but as they say “a film is never finished, it’s just taken away from you.”SIXEL: I am basically a curious person. There weren’t many expository scenes in the film and some people found that challenging.Interestingly a relatively simple scene where they all decide to turn back needed to be adjusted. There was pressure to cut the film down to 100 minutes but George and I didn’t want to cut too deeply and brutally where logic and the musicality of sequences were sacrificed. I do have some recent favorites like “The Imitation Game” and “Argo,” both beautifully cut by William Goldenberg. I slipped into it quite naturally. In fact we cut silently for a long time except obviously for the dialogue scenes. I was on the film roughly from March 2012 to April 2015 with a few breaks. I thought ‘wow, this is fun and you get paid to do it!”HULLFISH: How do you collaborate with the director? Ab 1994 folgten mehrere Produktionen, an denen sie als eigenständige Editorin beteiligt war. If it really works I go back and attempt to analyze it.

Sixel war ab Mitte der 1980er Jahre zunächst als Schnittassistentin aktiv.

This year’s Best Editing Oscar went to Margaret Sixel for “Mad Max: Fury Road.” Sixel worked on the project for three years, wrangling almost 500 hours of footage into the final two hour screening time of the movie. Editing in film was originally the work of women, a back-breaking form of labor that was considered beneath the true artists of the … Working the material to death. Der Dokumentarfilm Australien: 40.000 Years of Dreaming aus dem Jahr 1997 war die erste Produktion, bei der sie mit dem Regisseur … Amount of footage? I did the same with the last shot of the War Rig at the end of the storm sequence. I had the good fortune of meeting Terilyn Shropshire, ACE, when I moderated a fantastic roundtable discussion that was... Today’s interview is with Harvey Rosenstock, ACE. Especially on big budget films where there’s a lot at stake.

A year after principal photography had finished we had an extra 3-week shoot so we didn’t have a complete film that we could evaluate until February 2014. But it’s one thing to routinely put shots together but it’s another thing to forge a persuasive experience.The editor comes on when most things are already fixed but there is always room to move and the edit is the final rewrite.
Copyright: The Academy // YouTube. In our cutting room we call it the ‘zone’ where you’re in a frenzy to get it down before the idea eludes one. I like to know how to do things. So do you have to use your imagination when cutting VFX or are you using highly developed PRE-VIZ and POST-VIZ?SIXEL: As I look through dailies I start pulling bits out and stringing a whole lot of shots together. In the end we made it very simple, aided by a few clever CG shots.SIXEL: Since I have been editing on and off for about 30 years I have tried most systems. Initially I thought audiences would find the quieter middle section slow but it turned out to be the opposite. And you tend to be more rigorous with the cutting as you can’t hide behind the music. In early versions even the pre storm sequence where we intercut the approaching War Party, the Doof Warrior, Furiosa, her henchman Ace and Nux the War Boy, had many more loops.

Margaret Sixel, winner of the EE British Academy Film Award for editing for Mad Max: Fury Road at the Royal Opera House on Feb. 14 … For a while there was pressure to do a synopsis of the first 3 Mad Max films and pop it on the front of the film but I resisted that.

On “Happy Feet” we used FCP but we switched to Avid for “Fury Road.” It was rock solid.HULLFISH: You won the Oscar against some VERY different types of movies. How is editing musical?HULLFISH: How do VFX affect your cutting? With some careful rewriting and editing I managed to shift the focus back onto Max. The mother of two boys, Buda (19), and Tige (15), is one of a growing number of women editing the male domain of action films. I have a rough idea in my head and cant wait to get the scene into a workable shape. How did you arrive at those decisions? Audiences new to the Mad Max films wanted to know what had happened to him and why was he crazy? The crew were in Southern Africa (Namibia and Cape Town) for 8 months and then we cut for an additional 2 years. You have to look after your health and sanity. The “shot-to-shot” pacing? That is a big time saver as you don’t constantly have to worry about smoothing out sound edits.