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The Editor

The editor works with the director to assemble the existing film footage into a logical story progression. There are legendary editors who have supposedly "saved" films by re-jiggering the existing footage in inventive ways. But in most cases the editor wrestles with subtler issues of timing and emphasis. With post-production periods on most films now shorter than ever, the editor's work routinely begins while shooting is still in progress, as she assembles the "dailies" (the usable film footage shot each day) into a sequential "rough cut" or "first assemblage." New digital editing tools have streamlined this process enormously. In post-production the editor works with the director to craft a fine-cut version of the story that plays well for an audience. The editor reports to the director -- at least until this "first cut" is in the can. From that point on, unless the director is one of the powerful few who has earned "final cut" privileges, the editor's obligation shifts; she now works for the producer, and her job is to create a version of the movie that is acceptable to the studio or production company.


Millie Moore's theatrical features include Halloween III, Those Lips, Those Eyes, Go Tell The Spartans, Good Guys Wear Black, Star Ship Invasion, Joe Panther, Johnny Got His Gun (directed by Hollywood Blacklist writer Dalton Trumbo) and The Man Who Skied Down Everest.

Moore's television features include The Disappearance of Vonnie, Geronimo (for which she received Emmy and Ace nominations), Casualty of Love, Quicksand, Cobb's Law, Iron Clad, Joshua's Heart, The Tenth Man, To Heal a Nation (another Emmy nomination), Polker Alice, Stillwatch, Crossing, and many others. Moore also received an Emmy nomination for an episode of Cagney & Lacey.

Prior to working with director Gil Cates on the PBS production of Collected Stories, Moore edited his TV productions of A Death in the Family, Innocent Victims, and Absolute Strangers.


Millie Moore
Millie Moore


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