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THELMA SCHOONMAKER DELIVERS EDITING MASTERCLASS BY ADRIAN PENNINGTON
Three-time Academy Award- winning editor Thelma Schoonmaker treated IBC to an intimate and insightful overview of her storied career In Conversation at yesterday’s IBC Conference. This year’s recipient of IBC’s International Honour for Excellence spoke about the art and craft of editing, her close collaboration with Martin Scorsese and working to restore the fi lms of her late husband, Michael Powell, during the free- to-attend session.
Schoonmaker has edited every major work of director Martin Scorsese since Raging Bull. Her credits include Goodfellas, The Aviator, The Departed and Killers of the Flower Moon, and she is the only editor to have received nine Oscar nominations. Her career in fi lmmaking began after she got a job working for a Peace Corps programme and saw an ad for a six-week course
in fi lm at Washington College. It was there she accidentally met Scorsese. He was fi lming the 1963 short What’s a Nice Girl Like You Doing in a Place like This?
“Someone had cut his negative
wrong and since I had learned a little bit about neg cutting, when the professor asked ‘Is there someone here who can help Mr Scorsese fi x his fi lm?’ I put my hand up and said I’ll try. It was all an accident – luckily for me! But he trusted me because of that. “When Marty went to
Hollywood, he found that a lot of the editors he was working with there didn’t approve of his style of fi lmmaking – the violence, the unusual use of actors – and so he had gotten very depressed about editors there. He left Hollywood because he felt he wasn’t being accepted.” That was when he asked Schoonmaker to edit Raging Bull. “It was a stunning experience for me, on a major studio set
Schoonmaker: ‘I have the best job in the world’
with great actors and camera moves, and he felt happy that he could be in the editing room with me after all the troubles he had experienced. Schoonmaker is currently in
pre-production with Scorsese on their 22nd feature. Midnight
Vendetta is about the mafi a in 1890s New Orleans and stars Leonardo DiCaprio. “We screen each movie 12 times during postproduction,” she said. “Sometimes I am up all night. I work very hard, but it’s the best job in the world.”
A CENTURY OF SCREENS INFORMS TV’S NEXT CHAPTER BY MONICA HECK
In the past 100 years, a tipping point has been reached where innovation stopped being driven by technology and started being driven by consumers, according to Peggy Dau, Founder of MAD Perspectives, speaking on the IET panel ‘Tech Timewarp: Refl ecting on the past and facing towards the future of production and distribution’. “VoD could have been done earlier, but the consumer didn’t understand what it was. Somewhere in the shift between broadcast and cable TV and the move into the IPTV world, a feedback loop allowed the consumer to start infl uencing the trajectory of the industry. They want technology to meet them where they are.” Trust is a pressing issue of our time and Tim Forrest, Head of Content Distribution and Commercial
(L-R): Tim Forrest; Peggy Dau; and moderator Russell Trafford-Jones, Industry Engagement Manager Chair, IET Media Technical Network and Industry Engagement Manager, Techex
Innovation at ITN, says the Coalition for Content Provenance and Authenticity, or C2PA, has been needed for years. “A provenance tool is so essential for trust, particularly around news, however I don’t think we are yet ready for C2PA to be rolled out to the public.
It is a protocol that is still being understood and we must keep our foot on the pedal.”
ITN has been working on a stamping tool with a video play bar that changes colour when it hits content that is not C2PA compliant. “It’s amazing how that changes
your understanding of what you are watching,” said Forrest. “There is not a single solution right now for how to protect your provenance and, indeed, with AI being both the solution and the problem, it’s going to be a situation that evolves over time.”
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