An Evening With... Mark Goldblatt, Caroline Ross and Roger Barton by Arthur Springer I first had the pleasure of meeting Mark Goldblatt, A.C.E., and Caroline Ross several years ago as a participant in the annual A.C.E. internship program. Mark has edited several of my favorite films, including True Lies, Predator 2 and both Terminator features, not to mention Armageddon and Starship Troopers. So when I was asked to write an article about the Fireside Chat with Mark, held September 3 at Electric Picture Solutions, my answer was, to borrow a phrase from Terminator 2, "No problemo." Caroline Ross and Mark Goldblatt Caroline was also on hand at the event, as was Roger Barton. Mark's associate editor for many years, Caroline was an editor on Starship Troopers and Wedding Bell Blues, among other films, and performed additional editing on Super Mario Bros. and Drugstore Cowboy. She is currently cutting Stranger Than Fiction. Roger was associate editor on Armageddon and Titanic, and edited That Darn Cat. All three editors provided helpful insights into the current climate of the cutting room. The big message is that special effects-laden blockbusters are here to stay, and the editor plays a large role in that creative process. With all the expanded abilities digital editing affords, such as creating opticals and adding music and sound effects, the editor's job is more complex than ever. With shorter post schedules and often several editors on one project, the need for quality assistants is crucial. As Mark put it, "Editing now is like being in an operating room." Different types of assistants in the cutting room - those that understand film, those that know the Avid - make teamwork especially crucial. Mark showed a laserdisc of Starship Troopers featuring director Paul Verhoeven explaining the behind-the-scenes complexities of editing with background plates. Using animatics, the editor can see where the special effects will be placed and can then edit accordingly. Mark and Caroline pointed out that it's like cutting imaginary performances that the editor must be able to visualize. And what about working with directors such as Verhoeven and James Cameron on several films? Mark's advice: respect the hierarchy. Remember it's first and foremost the director's vision. As an editor you can help actualize that vision, but know when to approach a director to discuss a problem (hint: in private and after a meal), and know when to keep your mouth shut and lick your wounds. Caroline talked a bit about how things have changed from when she first started working as an assistant with Mark, editing film on a flatbed. She learned editing by standing behind him and watching. But with the rise of digital technology, the role of the assistant has changed. If an assistant wants to learn editing, he or she needs to come in after hours and cut scenes on their own, then compare them with the editor's cut. Caroline also talked about the daunting prospect of cutting a feature film for the first time, and the reassurance in having a skilled assistant there for support. Roger demoed a select reel of Armageddon which showed some of the early cuts of the movie and its evolution throughout the editing process. Though Mark winced at a few of the cuts, even the best editors have ones they'd like to forget. Said Mark, "You just have to let it go and move on." Ultimately the theme for the evening was that editors are juggling more creatively stimulating and complex challenges every day, and the need for good assistants is greater than ever. So if you're an assistant and are aggressive in networking, you can land a good job. Learn your stuff, and before you know it you might be editing Terminator 3.   Reprinted from The Motion Picture Editors Guild Newsletter Vol. 19, No. 6 - Nov/Dec 1998   Guild Home | Newsletter Home | Top of Page   Copyright © 1998, All Rights Reserved by The Motion Picture Editors Guild, IATSE Local 700