Manhattan Edit Workshop's Blog

Christopher's work includes "A Quiet Place," "Capote," "Moneyball," and the recently released "The Many Saints of Newark"! Joins as Christopher talks about some of his most iconic work, experiences from his amazing career in film and much, much more! November 5th | 2:00 PM EDT/ 11:00 AM PDT Y ou can watch it on Youtube:  https://youtu.be/ XldTQvAo76A   or on facebook:  https://fb.me/e/ 1JDUL2tvs #FilmmakerU #FilmU #FilmUChats #Editing #OWC #PoweredByOWC #ACE #AmericanCinemaEditors #Editor #Edit #PostProduction #ChristopherTellefsen #AQuietPlace #TheManySaintsOfNewark #Moneyball #Capote #ThePeopleVsLarryFlynt

Six Week Students will have the opportunity to work with the Oscar-nominated Editor for MEWShop’s April workshop Manhattan Edit Workshop  (MEWShop), the cutting-edge, digital-training destination for post-production specialists and content creators is proud to announce the upcoming Artist in Residence for the April 29th class will be acclaimed editor Christopher Tellefsen, ACE.** Christopher was previously an Artist in Residence at MEWShop in 2006 and he has since gone on to find continued success in his career, including an Oscar-nomination for achievement in editing for the 2011 film “Moneyball.” He will be visiting with our Six Week Students to give an inside look at his start as a 3rd assistant editor on “The Color of Money” for legendary editor Thelma Schoonmaker, ACE, up through his work from last year’s critically acclaimed thriller “A Quiet Place.” “Since Tellefsen’s work as an editor is in high demand and he is always constantly working; this is a rare opportunity fo...

Anna Gunn in Equity In Equity , the new woman-centric Wall Street potboiler from director Meera Menon and production company Broad Street, shot after shot and cut after cut line up to reinforce a feeling of suffocating isolation. This is by design, according to editor Andrew Hafitz. The film, which follows investment banker Naomi Bishop (Anna Gunn) through a scandal-plagued tech IPO, is shot and cut with a cold, nearly clinical eye. From the first frames, the entire film seems intent on distancing the audience -- when we sneak up on Naomi for the first time, her back is turned; her defenses are down even as she steels herself for the gauntlet of the workday. The rest of the film follows this pattern: characters are observed coolly, and often overhead, even at their most vulnerable. Some credit here goes to Hafitz, whose editing is a major part of what makes the film tick. “Meera’s a great collaborator, and I loved working with her,” he says. He describes the post-production pr...