To The Aotg.com Community,

It is with a heavy heart that we announce we will no longer be updating Aotg.com. Back in 2007, when we started, there was a lack of access to information about film, television, and commercial editing. We wanted to fix that by creating a central location for content about editing to be stored.

Since then, we've watched the amount of content about editing on the internet grow exponentially. We've also watched social media tools come and go with that growth. Does anyone remember Google Wave!? These social media tools changed how people access and search for media and information. People tend to turn to Facebook, Youtube, Twitter, and Instagram for their news and information, and those are all great tools to promote your sites, but as a site that aggregates links to other sites for users, it just doesn't work for us.

We will keep the site live but archive the ability to add links and comments. We will keep our database live with the links for those who desire to use it to search for editing information and research.

Our podcast, The Cutting Room, will move over to the Filmmakeru.com website and will continue to be a place for interviews with editors and other film professionals.

Everyone who worked for Aotg.com loved what we created and are proud that we could help so many editors find content that spoke to them.

I look forward to seeing everyone at the various post events worldwide in the coming years!

Yours truly,
Gordon Burkell
Aotg.com Founder

Episode 032 - Michael R. Miller Interview Part 2

June 29, 2010, 11:24 AM

https://www.aotg.com/episode-032-michael-r-miller-interview-part-2/

This week Gordon interviews Michael R. Miller, editor of Swing Kids, Raising Arizona, Stigmata and Ghost World as well as many other great films. They discuss his work on cult classics like Farce of the Penguins and Strangers with Candy.

Cutting Commentary

June 26, 2010, 02:48 PM

https://www.editorsguild.com/FromTheGuild.cfm?From...

After opening remarks by Randy Roberts, A.C.E., President of the American Cinema Editors, the DGA Theatre in New York took on a hushed tone as the second annual East Coast EditFest got underway June 11. The reason was that the organization remembered one of its own: Karen Schmeer, A.C.E. Lucia Small, both a close friend and a client of Schmeer's editing skills, stood up to talk about the young editor whose life ended earlier this year from a tragic hit-and-run accident near her home in...

Thelma Schoonmaker Discusses Working With Marty

June 26, 2010, 10:15 AM

http://www.scorsesefilms.com/article-Schoonmaker-o...

"Oh, go ahead and heft it," Thelma Schoonmaker urged. "Everyone else has." "It" was the Oscar statuette she had won earlier that week for best film editing, for The Departed. Schoonmaker, 67, was sitting in her editing room at Martin Scorsese's production company. She has edited every Scorsese feature since Raging Bull, in the process becoming one of the most respected figures in American film.

Norman Hollyn Audio Interview

June 25, 2010, 11:39 AM

http://www.peachpit.com/podcasts/episode.aspx?e=11...

Norman Hollyn speaks with publisher Nancy Aldrich-Ruenzel about his new book, The Lean Forward Moment, a groundbreaking title that shows readers how to create compelling stories no matter what their project is.

EDIT FEST NY - A Screenwriters Perspective

June 24, 2010, 12:45 PM

http://thescreenwritinglife.blogspot.com/2010/06/e...

I met one of my professional heroes today -- film editor Thelma Schoonmaker. She was a guest panelist at EditFest NY this weekend. The seminar took place at the Director's Guild of America in Manhattan. What is EditFest? It's two days of information, education and networking with some of the best editors in the movie and television industry today. It's presented by American Cinema Editors (ACE) and Manhattan Edit Workshop.

Movement in Every Edit (well almost every edit)

June 24, 2010, 11:37 AM

http://blogs.nppa.org/editfoundry/2010/06/24/movem...

I’m a big fan of movement. I like to have as much movement in a story as I possibly can. I often base my edit decisions on movement. If I’m choosing between two shots, I’ll choose motion over a better composed shot with no action happening in the shot. We are a visual medium. Give your viewer as much to look at as they possibly can handle. Our story for this post is It’s Bad.

EditFest with Alan Heim & Bobbie O'Steen

June 24, 2010, 10:42 AM

http://www.bobbieosteen.com/2010/06/bobbie-and-ala...

I just moderated my third panel for EditFest, and although this had only one panelist, it was enough for a feast, because that panelist was the very gifted and gracious Alan Heim. Alan chose to discuss and show clips from Star 80, director Bob Fosse’s final film, which was an unconventional decision.

Whitehouse Adds Editor Reeves to U.S. Roster

June 23, 2010, 02:28 PM

http://www.studiodaily.com/main/news/12321.html

Editor Stewart Reeves joins The Whitehouse, Bicoastal/Chicago/London for Stateside representation. Based in Sydney, Australia, Reeves continues to be repped there by The Editors, Sydney. His recent output includes spots for A-list directors Noam Murro, Tim Godsall, Steve Rogers and Tom Kuntz to name a few. The editor has developed a reputation for effectively combining a keen rhythmic and visual sense with an eye for offbeat comedy.

Beats

June 22, 2010, 01:52 PM

http://www.cceditors.ca/2009/01/23/beat-written-by...

Technique and description of the term "Beats" for directors and editors alike

Film editor Michael R. Miller [Interview]

June 22, 2010, 08:19 AM

http://editorunderconstruction.blogspot.com/2010/0...

"On any career path there’s getting started, and then there’s getting started right. Imagine you’re a young film editor named Michael R. Miller, you’re looking to get a foothold in feature films, and like anyone just starting out in his chosen field you’re probably willing to take almost any job for the experience and the typeface on your CV.

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