Becoming an AE (assistant editor) isn’t the only path to editing scripted television. Learn more in my conversation with experienced reality editors Phil Habeger and Toni Ann Carabello as they explore their options.
Ep71: To Assist or Not to Assist…That Is the Question (pt 2) | with Wellington Harrison
Choosing between the assist editing route vs the editing route is not an easy choice. Learn why becoming an indie editor is the best route for Wellington Harrison in part 2 of this podcast interview.
Ep70: To Assist or Not to Assist…That Is the Question (pt 1) | with Chris Cavanagh
Choosing between the assist editing route vs the editing route is not an easy choice. Learn why becoming an assistant was the best route for Chris Cavanagh in part 1 of this podcast interview.
Ep69: Cobra Kai…Inside the Edit Suite | with Jon Hurtwitz, Josh Heald, and Hayden Schlossberg
Want to know what conversations really happen in the edit suite of major television shows like Cobra Kai? Get an honest look in this interview with the Cobra Kai creators Jon Hurwitz, Josh Heald, and Hayden Schlossberg.
Ep62: [CASE STUDY] Transitioning to Scripted Television | with Len Ciccotello
Learn how documentary and special features editor Len Ciccotello transitioned to working in scripted television using just a few simple steps.
Ep58: How to Get a Script Made In Hollywood | with Kyle Long
Kyle Long is a Hollywood feature film and television writer, producer, and the showrunner of the recent limited series ‘Unsolved: The Murders of Tupac & …
Ep50: EditFest 2018 Panel “The Extended Cut: How to Survive and Thrive In Editorial”
Listen to Zack Arnold (ACE), Lillian Bension (ACE), Carol Littleton (ACE) and Andy Seklir (ACE) discuss what it REALLY takes to survive the working conditions in Hollywood and become a successful editor in Hollywood.
Dear Hollywood: We’re Not “Lucky to Be Here”…You’re Lucky to Have Us
Those of us working in the filmmaking industry are willing to put up with ridiculous (and deadly) working conditions that few other industries would deem acceptable. But the much deeper question is: Why?
Dear Hollywood…We Create Entertainment For a Living. We’re Not Curing Cancer.
For those of us in Hollywood working behind computers in dark rooms for a living, will there ever come a time when we realize it’s counterproductive, unhealthy, and downright dangerous to work insane hours at the expense of our health and our creativity simply for the sake of our jobs?
Ep45: How to Build a Career You’re Proud Of | with Robert Hardy
Learn how to confront the barriers holding you back not only from being successful but also from having a career you can be proud of with ‘Filmmaker Freedom’ founder Robert Hardy.
Ep44: How to Tell Good Stories | with Jeff Bartsch
If you’re a storyteller you MUST understand the fundamental components of every great story. Learn from ‘Story Greenlight’ founder and Hollywood film editor Jeff Bartsch.
The Four Types of Creative Jobs (and The Secret To Knowing Which Is the Perfect Fit For You)
If you intend to climb the career ladder straight to the top, step #1 is understanding the four different types of creative jobs. Only once you understand where your job fits in can you then reframe your perspective to get the most out of every opportunity (or know if it’s time to bail out).
Ep41: How to Master “Offline” Networking at Live Events | with Camille Virginia
No matter how socially awkward you might be, networking in the “real world” is a skill you must master to be successful. Learn how in this interview.
The Socially Awkward Introvert’s Guide to Networking with Industry “Experts”
There’s a lot more to landing your next dream job than having “great skills.” Learn how to become a networking ninja so the right people know you exist.
Ep40: Breaking “Bad” From Assistant to Editor | with Kelley Dixon, ACE (pt 2)
In part 2 of our conversation today we dive as deep as I’ve ever gone into all of the steps necessary to climb from the bottom of the ladder to the top in Hollywood. We go over all the details of Kelley’s “overnight success story” where it took her just short of 20 years of being an assistant editor before exploding onto the scene with Breaking Bad.