Frame By Frame

  FXF_S03EP01_ARTHUR PENN: Suzana Peric, Steve Rotter, Ron Roose, Marc Laub, Jeffrey Wolf, Bob Reitano PLAY PODCAST In the Alice’s Restaurant  cutting room, from left, Richard Marks, Dede Allen, Frank Mazzola, Jerry Greenberg, Joanne McGarrity Burke, Stephen Rotter, Kathie Amatniek Sarachild and Dick Goldberg (seated) in 1969. Arthur Penn and Faye Dunaway Perhaps best known for his 1968 film, Bonnie and Clyde, stage, television and film director Arthur Penn’s masterful sense of rhythm and movement, his pioneering approach to representing violence,  as well as his ability to consistently evoke powerful performances established Arthur Penn as one of the most important American directors of the 1960’s and 70's. Here several Arthur Penn collaborators including picture editors, Steve Rotter, Ron Roose, Jeffrey Wolf,  picture and sound editors, Bob Reitano and  Marc Laub and music editor Suzana Peric talk about their experiences working with Arthur Penn on the films Mickey

FXF_S02EP06_SOUND EDITOR, DAN SABLE: Working with Woody Allen and Brian DePalma  PLAY PODCAST In Brian DePalma’s 1981 film Blow Out, the main character is a sound effects specialist who accidentally records a murder while collecting night sounds for his effects library. The inspiration for this character was Dan Sable, a New York-based sound editor and a collaborator of DePalma’s on nine of his films including, Carrie, Dressed to Kill and Blow Out. Dan Sable built a career as a sound editor working on films such as Annie Hall and Manhattan and multiple films with Woody Allen. Other directors with whom he collaborated include Bob Fosse, Volker Schlorndorff, Ron Howard and Jonathan Demme. This interview was recorded in Dan Sable’s home home by Ira Spiegel and Shari Johanson for Frame By Frame and may be included in an forthcoming documentary on the new York Post Facility Sound One. Here, Dan talks about how he got his start in the film business, specifically in working with filmmaker Brian

FXF_SO02EP05: JIM JARMUSCH PT2: Jay Rabinowitz, Bob Hein, Tony VolantePLAY PODCAST Coming together in the early 1980’s filmmaking scene of New York, picture editor Jay Rabinowitz and sound editor Bob Hein first met in collaborating on Jim Jarmusch’s film Mystery Train which led to multiple collaborations over 25 years of working with Jim Jarmusch on such films as Broken Flowers, Dead Man, and Limits of Control. Re-recording mixer, Tony Volante joined in mixing the feature film, Coffee and Cigarettes and has since also mixed on Paterson with Bob Hein as sound editor. Jay, Bob and Tony start out by describing the filmmaking scene of 1980’s New York and how that set the tone for future collaborations. Jay Rabinowitz also talks about his process as a picture editor working with Jim Jarmusch and how the film Dead Man came together. Frame By Frame is a podcast series hosted by editor Isabel Sadurni, that introduces you to the most influential, respected and accomplished cinema post-production profession

FXFS2EP3_RISE OF NY DOCUMENTARY_Sam Pollard_Lilllian BensonPLAY PODCAST For Sam Pollard, Emmy and Peabody award-winning a director, producer, picture editor and frequent collaborator with Spike Lee ( Style Wars, Mo' Better Blues, Girl 6, Bamboozled, Clockers, When the Levees Broke: A Requiem in Four Acts, Four Little Girls  and August Wilson: The Ground on Which I Stand) , and for Lillian Benson, recipient of the 2017 Motion Picture Editor's Guild Fellowship and Service Award and Emmy and Peabody award-winning  picture editor (Get In The Way: The Journey of John Lewis and Maya Angelou: And Still I Rise) documentary filmmaking has proven to be the most powerful form of expression artistically, personally and professionally.  Coming up during the civil rights movement of the late 1960’s and 70’s New York they recognized the documentary film form as a medium that amplified their own voices and t

PLAY PODCAST 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

PLAY PODCAST 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. Frame By Frame is a podcast series hosted by editor Isabel Sadurni, 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 cont

PLAY PODCAST From 1968 to 2012, Sound One grew from a solo operation run by Elisha Birnbaum a foley artist and sound editor recent emigrated from Israel to becoming the most successful post-production sound and editing facility on the East Coast. Inhabiting seven floors of the famed Brill Building and commanding at least 85% of post-production business in New York, Sound One housed 150 edit suites and over 300 clients and staff at its apex. As its reputation grew, it became the go to post-production home for such filmmakers as Sidney Lumet, Arthur Penn, George Roy Hill, Jonathan Demme, Woody Allen and Martin Scorsese and through its constant support of independents, helped launch the careers of  filmmakers like the Alan Pakula, Spike Lee, The Coen Brothers, M. Night Shyamalan, Michael Moore and Ken Burns and countless post-production professionals generating some of cinemas most important films.  The Beginning tells the story of how Sound One answered a need for local sound stages in the earl

FXF_S01EP05:Angelo Corrao, Alex HalpernPLAY PODCAST Post Factory Founder, Alex Halpern and picture editor Angelo Corrao talk about their collaboration on Nine Good Teeth  as well as Angelo’s work on Bruce Weber’s Let’s Get Lost and their experiences coming up in the 1980's New York film scene and developing early relationships with filmmakers like The Coen Brothers. Frame By Frame is a podcast series hosted by editor Isabel Sadurni, 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 esse