Podcast appearances and mentions of alan heim

From the stages of Broadway musicals came one of the most adventurous and innovative editorial directors, and that adventurousness peaked with Bob Fosse's 1979 autobiographical film. On this episode is the esteemed editor Keith Fraase, discussing:- the 8½-inspired sub-genre of directors making autobiographical movies about them making movies;- the Fosse/Verdon mini-series;- Sam Wasson's book from which it's based;- Fosse's streak of Cabaret through Jazz as a model of the American musical maturing on film;- how the hell a Broadway choreographer learned to edit like that;- and how the answer actually makes sense.Also:- how legendary editor Alan Heim felt constrained by the shooting style;- Fosse's influence on Michael Jackson;- Keith's foundational love of the Jesus Christ Superstar film;- and how engaging in an autobiographical production doesn't quite solve ones problems in life.Keith Fraase has edited such narratives features as Knight of Cups, Song to Song, and Chappaquiddick, along with the documentaries Voyage of Time and Long Strange Trip. He lives in New York City, NY with his family.All That Jazz is not currently streaming or available to rent online, but is on DVD and Blu-ray from Criterion.

It's showtime, folks! On this episode we're talking about Bob Fosse's 1979 film All That Jazz. It's definitely not an autobiographical picture about a choreographer slash director (Roy Scheider) who's working on his previous film about a groundbreaking stand-up comedian (Cliff Gorman) while rehearsing his next Broadway sensation. It's definitely not about Fosse facing down the specter of mortality and expressing it the best way he knows how.David Kittredge and Emma Westwood join Mike to discuss the film. Interviews include editor Alan Heim, actress Deborah Geffner, and our old friend Keith Gordon.Learn more about your ad choices. Visit megaphone.fm/adchoices

It’s showtime, folks! On this episode we’re talking about Bob Fosse’s 1979 film All That Jazz. It’s definitely not an autobiographical picture about a choreographer slash director (Roy Scheider) who’s working on his previous film about a groundbreaking stand-up comedian (Cliff Gorman) while rehearsing his next Broadway sensation. It’s definitely not about Fosse facing down the specter of mortality and expressing it the best way he knows how. David Kittredge and Emma Westwood join Mike to discuss the film. Interviews include editor Alan Heim, actress Deborah Geffner, and our old friend Keith Gordon.

It’s showtime, folks! On this episode we’re talking about Bob Fosse’s 1979 film All That Jazz. It’s definitely not an autobiographical picture about a choreographer slash director (Roy Scheider) who’s working on his previous film about a groundbreaking stand-up comedian (Cliff Gorman) while rehearsing his next Broadway sensation. It’s definitely not about Fosse facing down the specter of mortality and expressing it the best way he knows how. David Kittredge and Emma Westwood join Mike to discuss the film. Interviews include editor Alan Heim, actress Deborah Geffner, and our old friend Keith Gordon.

The Adventures of Pluto Nash is the epitome of how this podcast came to be. For starters, it is just a terrible film. Critics agreed. With 90 reviews, it sits at just 4% on Rotten Tomatoes; users responded slightly more favorably with 19%. It also stars Eddie Murphy, who at one time was one of the biggest stars on this planet or any other. Despite the bad word of mouth, though, even awful movies inexplicably make money sometimes. Norbit and Daddy Day Care—also in the Eddie Murphy dreck hall of fame—each grossed over $150 million. Pluto Nash's fate wasn't so kind. It tanked. On a ballooned budget of around $160 million, it grossed under $10 million total (the actual figure is just over $7), making it one of the largest bombs in box office history. At the time of its release, it held the crown. That loss was a catastrophic one. It resulted in massive layoffs at Castle Rock, the movie's co-distributor, and landed director Ron Underwood in big screen jail. Money aside, Pluto Nash, quite frankly, is the antithesis of funny. Between the off-putting ogling of Nash's android companion Bruno (Randy Quaid) and Murphy's disinterested turn, it's sort of astounding it was ever brought off the shelf it had collected dust on for years. And with ideas and visuals as lazy as its comedic execution, one can't help but wonder why they continued to pour money into it. If reports are to be believed, Pluto Nash was so disastrous that the studio had to pony up tens of millions of dollars for reshoots. They even hired Oscar-winning editor Alan Heim to polish them. Heim, dissatisfied with what he saw, determined there wasn't enough of the three-hour work print that was even usable. Thus, more reshoots ensued—a desperate dance to redeem the irredeemable. Folks, it's hard to recommend you even watch this thing. There is just nothing to celebrate about it. But, hey, that's part of the fun. So sit back, chug—literally chug—a few Voodoo Ranger Starship IPAs from New Belgium Brewing Co., and boogie to some lunar beats with Bruno and Babette! I, the Thunderous Wizard (@WriterTLK), Capt. Cash (aka Rex Crater), and Chumpzilla, are doing our damndest not to just lie down and die in the middle of a moon crater. This Week’s Segments: Introduction/Plot Breakdown – In an explosive first round KO, Pluto Nash wrenched the Shit Movie Championship away from Cutthroat Island. We explain why. (00:00) Lingering Questions and the Moon Beach Trivia Challenge – First, Chumpzilla challenges us to Pluto Nash/Eddie Murphy-themed trivia. And then, with what's left of our resolve, we tackle whether or not this movie could've been salvaged. (53:25) Recommendations – Time is a construct. While you ponder that and other mysteries of quarantine life, enjoy our recommendations for the week. And next up: It's Kilmer time, as we hunt down The Ghost and the Darkness! (1:11:30) And, as always, hit us up on Twitter, Facebook, or Instagram (new and shiny!) to check out all the interesting factoids—Murphy's bizarre desire to rescue this project and more—from this week’s episode! You can find this episode of Hops and Box Office Flops on Apple Podcasts, Google Play, Stitcher, Podbean, and Spotify!

In 1976, an American satirical film written by Paddy Chayefsky and directed by Sidney Lumet, called Network, about a fictional television network, UBS, and its struggle with poor ratings, starring Faye Dunaway, William Holden, Peter Finch,  Robert Duvall and Beatrice Straight was nominated for 12 Academy Awards including best film, best director and best editor. Network, won four Academy Awards, including Oscars for Chayefsky’s script, Beatrice  Straights’ performance as an outraged wife, Faye Dunaway’s performance as a cynical programming executive and Peter Finch’s frenetic portrayal of Howard Beale, the troubled “mad prophet of the airwaves.”Thirty-five years later, Network remains an incendiary if an influential film, and its screenplay is still admired as much for its predictive accuracy as for its vehemence and a relentless sense of purpose. Screenwriter Aaron Sorkin, cited Chayefsky when he accepted his Oscar for the screenplay of “The Social Network,” and wrote later that “no predictor of the future — not even Orwell — has ever been as right as Chayefsky was when he wrote ‘Network.’ ”Alan Heim, the picture editor of the film, Mark Laub, one from a team of sound editors, Michael Jacobi and Jeffrey Wolf, the first assistant editor and the apprentice editor on the film at the time, tell their stories of how the film came together and what it was like in various stages working with director Sidney Lumet, writer Paddy Chayefsky and Producer Howard Gottfried.

Picture editor Alan Heim, sound editor Dan Sable, re-recording mixer Lee Dichter and ADR Supervisor Mel Zelnicker share stories of their collaborations with 8-time Tony award, Oscar and Emmy award-winning choreographer and director, Bob Fosse, on films such as Lenny, All That Jazz and Star80.We welcome your comments and suggestions -- write us at framebyframe@postnewyork.org.

FXF4005: BOB FOSSE: ALAN HEIM, LEE DICHTER, DAN SABLE, MEL ZELNICKER PLAY PODCAST Picture editor Alan Heim, sound editor Dan Sable, re-recording mixer Lee Dichter and ADR Supervisor Mel Zelnicker got together at New York's technicolor Postworks to share stories of their collaborations on films such as Lenny, All That Jazz and Star80 with 8-time Tony award, Oscar and Emmy award winning choreographer and director, Bob Fosse. You can share this conversation through our website bit.do/framebyframe—or viaTwitter at @postny. You can also find us on iTunes- search Frame By Frame and click on the orange icon. We welcome your comments and suggestions -- write us at framebyframe@postnewyork.org. Frame By Frame is expanding to include snapshot conversations spotlighting bold new voices in New York filmmaking called Generation Next. Listen for upcoming mini-episodes. Frame By Frame is a podcast series hosted, produced and edited by 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 essential ongoing capital of the global film industry. Frame By Frame is proudly presented by Post New York Alliance. Stay tuned for upcoming episodes of Frame By Frame with the editors and Post Supervisor for VICE's groundbreaking Charlottesville documentary.

FXF4005: BOB FOSSE: ALAN HEIM, LEE DICHTER, DAN SABLE, MEL ZELNICKER PLAY PODCAST Picture editor Alan Heim, sound editor Dan Sable, re-recording mixer Lee Dichter and ADR Supervisor Mel Zelnicker got together at New York's technicolor Postworks to share stories of their collaborations on films such as Lenny, All That Jazz and Star80 with 8-time Tony award, Oscar and Emmy award winning choreographer and director, Bob Fosse. You can share this conversation through our website bit.do/framebyframe—or viaTwitter at @postny. You can also find us on iTunes- search Frame By Frame and click on the orange icon. We welcome your comments and suggestions -- write us at framebyframe@postnewyork.org. Frame By Frame is expanding to include snapshot conversations spotlighting bold new voices in New York filmmaking called Generation Next. Listen for upcoming mini-episodes. Frame By Frame is a podcast series hosted, produced and edited by 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 essential ongoing capital of the global film industry. Frame By Frame is proudly presented by Post New York Alliance. Stay tuned for upcoming episodes of Frame By Frame with the editors and Post Supervisor for VICE's groundbreaking Charlottesville documentary.

"I think we just lost the family audience."The Next Reel's Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month's episode, cinematographer and inventor Nic Sadler joins us to talk about one of his favorite films, Bob Fosse's 1979 film All That Jazz.We talk about the incredible honesty with which Fosse made this semi-autobiographical film and why it resonates so well with us. We discuss how challenging the film is and why that might be a good thing. We talk about the incredible editing by Alan Heim which the Motion Picture Editors Guild lists as the 4th best edited film, and why it sets a high bar. We of course chat about one of our favorites – Roy Scheider – and how he truly ruled the 70s. We dig into why cinematographer Giuseppe Rotunno shot scenes the way he did, notably the readthrough where Joe has his heart attack. And we talk to Sadler about his own cinematography, notably the recent film Coherence, and how the filmmakers accomplished so much with so little.It's a brilliant (but challenging) film that celebrates filmmaking as much as it shows the negative side of success. We have a blast talking about it with Sadler so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.Film SundriesThank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel Watch this film: Amazon Screenplay Original theatrical trailer Flickchart Letterboxd Visit our ORIGINALS PAGE to buy books, comics, plays, or other source material for the movies we've talked about on the show. By doing so, you get to find your next book to dig into and help us out in the process as a portion comes back our way. Enjoy!Star your own podcast journey with the best host in the business. Try Transistor today!Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Here's where you can find us around the internet: The Web Letterboxd Check out poster artwork for movies we've discussed on our Pinterest page Pete Andy We spend hours every week putting this show together for you, our dear listener, and it would sure mean a lot to us if you considered becoming a member. When you do, you get early access to shows, ad-free episodes, and a TON of bonus content. To those who already support the show, thank you. To those who don't yet: what are you waiting for?Become a Member here: $5 monthly or $55 annuallyWhat are some other ways you can support us and show your love? Glad you asked! You can buy TNR apparel, stickers, mugs and more from our MERCH PAGE. Or buy or rent movies we've discussed on the show from our WATCH PAGE. Or buy books, plays, etc. that was the source for movies we've discussed on the show from our ORIGINALS PAGE. Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT. Or sign up for AUDIBLE.

"I think we just lost the family audience." The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer and inventor Nic Sadler joins us to talk about one of his favorite films, Bob Fosse’s 1979 film All That Jazz. We talk about the incredible honesty with which Fosse made this semi-autobiographical film and why it resonates so well with us. We discuss how challenging the film is and why that might be a good thing. We talk about the incredible editing by Alan Heim which the Motion Picture Editors Guild lists as the 4th best edited film, and why it sets a high bar. We of course chat about one of our favorites – Roy Scheider – and how he truly ruled the 70s. We dig into why cinematographer Giuseppe Rotunno shot scenes the way he did, notably the readthrough where Joe has his heart attack. And we talk to Sadler about his own cinematography, notably the recent film Coherence, and how the filmmakers accomplished so much with so little. It’s a brilliant (but challenging) film that celebrates filmmaking as much as it shows the negative side of success. We have a blast talking about it with Sadler so check it out then tune in! The Next Reel – when the movie ends, our conversation begins. Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel Watch this film: Amazon Screenplay Original theatrical trailer Flickchart Letterboxd

FXFS02EP02_SIDNEY LUMET's NETWORK : Alan Heim, Mark Laub, Michael Jacobi and Jeffrey WolfPLAY PODCAST In 1976, an American satirical film written by Paddy Chayefsky and directed by Sidney Lumet, called Network, about a fictional television network, UBS, and its struggle with poor ratings, starring Faye Dunaway, William Holden, Peter Finch, Robert Duvall and Beatrice Straight was nominated for 12 Academy Awards including best film, best director and best editor. Network, won four Academy Awards, including Oscars for Chayefsky's script, Beatrice Straights' performance as an outraged wife, Faye Dunaway's performance as a cynical programming executive and Peter Finch's frenetic portrayal of Howard Beale, the troubled “mad prophet of the airwaves.” Thirty-five years later, “Network” remains an incendiary if influential film, and its screenplay is still admired as much for its predictive accuracy as for its vehemence and a relentless sense of purpose. Screenwriter Aaron Sorkin, cited Chayefsky when he accepted his Oscar for the screenplay of “The Social Network,” and wrote later that “no predictor of the future — not even Orwell — has ever been as right as Chayefsky was when he wrote ‘Network.' ” Alan Heim, the picture editor of the film, Mark Laub, one from a team of sound editors, Michael Jacobi and Jeffrey Wolf, the first assistant editor and the apprentice editor on the film at the time, tell their stories of how the film came together and what it was like in various stages working with director Sidney Lumet, writer Paddy Chayefsky and Producer Howard Gottfried. 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 essential ongoing capital of the global film industry. Proudly presented by the Post New York Alliance and the New York Motion Picture Editors Guild. Produced by Isabel Sadurni and Ben Baker.

FXFS02EP02_SIDNEY LUMET's NETWORK : Alan Heim, Mark Laub, Michael Jacobi and Jeffrey WolfPLAY PODCAST In 1976, an American satirical film written by Paddy Chayefsky and directed by Sidney Lumet, called Network, about a fictional television network, UBS, and its struggle with poor ratings, starring Faye Dunaway, William Holden, Peter Finch, Robert Duvall and Beatrice Straight was nominated for 12 Academy Awards including best film, best director and best editor. Network, won four Academy Awards, including Oscars for Chayefsky's script, Beatrice Straights' performance as an outraged wife, Faye Dunaway's performance as a cynical programming executive and Peter Finch's frenetic portrayal of Howard Beale, the troubled “mad prophet of the airwaves.” Thirty-five years later, “Network” remains an incendiary if influential film, and its screenplay is still admired as much for its predictive accuracy as for its vehemence and a relentless sense of purpose. Screenwriter Aaron Sorkin, cited Chayefsky when he accepted his Oscar for the screenplay of “The Social Network,” and wrote later that “no predictor of the future — not even Orwell — has ever been as right as Chayefsky was when he wrote ‘Network.' ” Alan Heim, the picture editor of the film, Mark Laub, one from a team of sound editors, Michael Jacobi and Jeffrey Wolf, the first assistant editor and the apprentice editor on the film at the time, tell their stories of how the film came together and what it was like in various stages working with director Sidney Lumet, writer Paddy Chayefsky and Producer Howard Gottfried. 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 essential ongoing capital of the global film industry. Proudly presented by the Post New York Alliance and the New York Motion Picture Editors Guild. Produced by Isabel Sadurni and Ben Baker.

  FXF007: Sidney Lumet's NETWORK- Alan Heim, Mark Laub, Michael Jacobi and Jeffrey Wolf.   In 1976, an American satirical film written by Paddy Chayefsky and directed... This is the Post New York Alliance's podcast of events in the New York Post-Production community.

Oscar winning editor Alan Heim takes us inside the editor-director collaboration as well as playing with story structure on Lenny and All that Jazz with director Bob Fosse and his long working relationship with director Sidney Lumet which includes the Oscar winning classic Network. Also, we delve into a fascinating discussion on how a director's expectations of the film can change in the editing room. Watch and Subscribe to Road to Cinema & Jog Road Productions on YouTube https://www.youtube.com/jogroadproductions Read The Road to Cinema Blog for more interviews! http://jogroadproductions.com/roadtocinemablog/ @JogRoad on Twitter @jogroadproductions on Instagram

Academy Award-winning film editor Alan Heim was at Groovy Like a Movie for a San Diego Filmmakers event on April 12. Cinema Junkie sits down with the veteran craftsman for a master class in how to cut a film.

Our exclusive interview with Alan Heim, editor of Network, The Notebook, Funny Farm and more… couldn’t be crammed into only two parts of video… catch all the stories that didn’t make the cut in this uncensored, uncut interview with this master of the craft. Watch full interview: Alan Heim Part 1 Alan Heim Part 2 ... The post Alan Heim Uncut, editor appeared first on Craft Truck.

Welcome to the show it is October 16th and today we will be interviewing Alan Heim, an editor who has worked on such films as Network, The Notebook and All That Jazz. He has won an Oscar, among many other awards. Recently he produced the film The Cutting Edge: The Magic of Movie Editing.