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An interview with Wes Anderson, director of the film "The French Dispatch," is presented. According to Anderson, producer Steven Rales is unique due to his being adventurous in movies. The director explains the appeal of the portmanteau film to him. He relates his experience of deciding not to show his movies to large audiences during the editorial process.

The article reports that film director Lucrecia Martel along with Miguel Schverdfinger is editing her upcoming documentary film based on the life of Indigenous Argentinian activist Javier Chocobar.

In this article, the author discusses her experience of editing and screenwriting of film "Twin Peaks: Fire Walk With Me" and his collaboration with David Lynch for private screenings.

An interview with film producer Jeremy Thomas is presented. Thomas discusses growing up in the motion picture industry, the impact of the film "The Wild and the Willing" on his childhood, and working in film cutting rooms. He also discusses his father, film director Ralph Thomas, working with film director Ken Loach, and the New Cinema movement.

The article reviews the 2013 film "Blue is the Warmest Colour" directed by Abdellatif Kechiche and presents an interview with Kechiche. The article discusses the controversies surrounding the the film, including its depiction of a lesbian love affair and accusations made by cast and crew that the experience of filming with Kechiche was not a good one. Kechiche defends himself against criticisms, discusses his editing process, and talks about how he got performances from his actors.

An interview is presented with American filmmaker James Benning, who directed landscape films such as "One Way Boogie Woogie," "Ruhr," and "El Valley Centro." Benning's use of digital film techniques, his teaching job at the California Institute of the Arts, and the DVD-video release through the Austrian Film Museum are discussed, as well as his early use of 16 millimeter (mm) film, the cost of using digital equipment, and film editing.

The article discusses motion picture director David Lean's techniques of film editing. Early in his career, Lean served as a film editor at the film company Gaumont. The author discusses his collaboration with motion picture director Bernard Vorhaus on the motion pictures "Money for Speed" and "The Ghost Camera." He suggests Lean's editing experience contributed to his success as a director and comments on the editing of a scene from the motion picture "A Passage to India."

The article analyzes the film "Scarecrow" directed by Jerry Schatzberg and starring Gene Hackman and Al Pacino. It notes that the film was largely shot in chronological order as it showcases the road trip taken by the characters played by Hackman and Pacino. Additional details are provided on Schatzberg's relationship with both actors as well as his editing and filming techniques.

The article focuses on segments of various films that were edited out of the final version. When MGM prepared a DVD transfer of Kiss Me Deadly, someone noticed that the shots of the ending in the trailer did not play in the feature. The trailer for Gentlemen Prefer Blondes previews a deleted clip of a dance number. The teaser for Black Narcissus gives audience an unused medium shot of a scene featuring Kathleen Byron.

Focuses on the techniques and innovations on motion picture editing contributed by Edwin Porter in the 1900s to the 1910s. Reputation as the maker of the movie `The Great Train Robbery,'; Techniques developed for presenting stories on film illustrated in the movie `The Execution of Czologosz,' completed in November 1901.

The article presents excerpts from the diary of Turkish film director Nuri Bilge Ceylan, translated by Burçak Taran and Suzy Gillett, about the editing of the film "Once upon a Time in Anatolia."

The article offers information on the works of Lithuanian film director and artist Deimantas Narkevicius which depicts the legacy of Soviet Union in Eastern Europe. Among his directed films include "Role of a Lifetime," "Restricted Sensation," and "Revisiting 'Solaris'." The films of Narkevicius which featured the political implications of film editing such as "Once in the XX Century," and "The Head."

Focuses on the views of director Michael Powell on the editing of motion pictures. Consideration of film editing as an industrial process; Film editors trusted by Powell; Recognition on the talent of David Lean as film editor by Powell.

A letter to the editor is presented in response to the article "Scissor Sisters" by film director and critic Mark Cousins in the August and September 2015 issues.

The article discusses films that were re-edited and re-assembled for television broadcasting and mentions films such as "The Godfather: A Novel for Television", "The Blood of Others" and "Christ Stopped at Eboli".

An interview with motion picture director Yann Demange is presented. Demange discusses his film "71," his working relationship with cinematographer Tat Radcliffe and editor Chris Wyatt, and transitioning from 16mm film to digital cinematography for day and night shots in "71." Other topics include the film's transitions, locations, and the performance of actor Jack O'Connell.

Corrections to reviews of films including "Neighboring Sounds," "Dragon," and "Compliance" in the April and March 2013 issues of the journal.

The article presents a conversation with Serbian director Mila Turajlic about her documentary "Cinema Komunisto." It explores the history of the Yugoslavian film industry under former Yugoslavian president Josip Broz Tito. It addresses the preservation of public memory, government-created narratives of culture, and editing the film for both international and domestic audiences.

The article presents criticism on the 1971 film "A New Leaf," directed by Elaine May and starring Walter Matthau and Elaine May. Particular focus is given to the editing of the film, which May was reportedly unhappy with. Several of May's other films are also explored including "The Heartbreak Kid" and "Mickey and Nicky."

In this article the author discusses "La Danse: The Paris Opera Ballet," a 2009 documentary film directed by Frederick Wiseman. A number of issues are addressed including the variety of the ballet repertoire captured in the film, Wiseman's interest in depicting performance, and the editing technique employed by Wiseman.

The article presents information on the Vietnamese filmmaker Tsui Hark. The author explains that Hark edited, producer and directed many of Hong Kong's most famous cinematic works from the 1980s and 90s. The article cites various films by Hark and explains the roles he plaid in each and the themes that he worked on in his films.

The article presents an interview with film director Aki Kaurismäki. When asked about the significance of director Robert Bresson, Kaurismäki speaks about Bresson's method of film editing. Kaurismäki also comments on Bresson's film "Au hasard Balthazar," and mentions how Bresson influenced his style.

Explores the art of film editing. Directors' combination of the various pieces of the film; Drawbacks of silent films; Creative process of cinema.

Explores the differences between videotape (VT) and film editors. Distinction between film editing and VT editing; Roles of film editors and VT editors.