THE BUSKER'S EDITING TEAM
Last night I had dinner with the editors of a locally produced independent film called THE BUSKER, a film by Steve Croke about a teenage street musician who is something of a prodigy, whose father was mistakenly killed in a racial incident. Shot in Lowell, it is good to look at and boasts strong acting. But it needs work.
I often think about the collaboration between the director and the cinematographer to be the most important, but certainly, after meeting with the editors last night, I'm open to a wider point of view.
The first editor was Chi-Ho Lee, a BU graduate who teaches Final Cut Pro and has a reputation as a great technician. He edited David Rothauser's DIARY OF SACCO AND VANZETTI, which has shown in festivals and aired on WGBH
Chi-Ho had to leave because of other professinal commitments, and I found veteran editor Loren Miller to fine tune the project. Loren edited the student films that put Boston University's film program on the map. He edited Oscar nominee KUDZU (with Jimmy Carter and James Dickey) Oscar winning KARL HESS, and the fabulous I REMEMBER BARBRA, about people who grew up in Barbra Streisand,'s old Brooklyn neighborhood. Loren likes creative challenges, and, just as HIGH NOON was made in the editing room, so was I REMEMBER BARBRA. Since THE BUSKER is a film about music, Loren brought in Don Wilkins, head of the film music department at Berklee College of Music, to assist. As good as the film is turning out to be, its success may come in part from the sound track.
Steve Croke reminded me of the od addage that a film has three versions - the screenplay, the shooting, and the editing. . I've read the script, seen two cuts of the movie, and am eagerly anticipated the latest cut. This film has a chance, and whatever success it may have will come from Steven's willingness to take the advice of others, especiallyhis editors.
I often think about the collaboration between the director and the cinematographer to be the most important, but certainly, after meeting with the editors last night, I'm open to a wider point of view.
The first editor was Chi-Ho Lee, a BU graduate who teaches Final Cut Pro and has a reputation as a great technician. He edited David Rothauser's DIARY OF SACCO AND VANZETTI, which has shown in festivals and aired on WGBH
Chi-Ho had to leave because of other professinal commitments, and I found veteran editor Loren Miller to fine tune the project. Loren edited the student films that put Boston University's film program on the map. He edited Oscar nominee KUDZU (with Jimmy Carter and James Dickey) Oscar winning KARL HESS, and the fabulous I REMEMBER BARBRA, about people who grew up in Barbra Streisand,'s old Brooklyn neighborhood. Loren likes creative challenges, and, just as HIGH NOON was made in the editing room, so was I REMEMBER BARBRA. Since THE BUSKER is a film about music, Loren brought in Don Wilkins, head of the film music department at Berklee College of Music, to assist. As good as the film is turning out to be, its success may come in part from the sound track.
Steve Croke reminded me of the od addage that a film has three versions - the screenplay, the shooting, and the editing. . I've read the script, seen two cuts of the movie, and am eagerly anticipated the latest cut. This film has a chance, and whatever success it may have will come from Steven's willingness to take the advice of others, especiallyhis editors.
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