Two of the hardest working real-life Avengers in the MCU are Jeffrey Ford, ACE and Matthew Schmidt. They shared Editor credits on four of the films -- Captain America: Winter Soldier, Captain America: Civil War, Avengers: Infinity War and Avengers: Endgame and worked together on several more MCU films.
The actors and directors take the lions share of the accolades but its these guys who were literally on the front lines, manipulating the tone, pace, and comedic beats, crafting character archs, and storylines. Avengers: Infinity War and Avengers: Endgame were shot at the same time often forcing the crew to bounce back and forth relentlessly between films and sequences, juggling constant script changing as they shot, "It was like an extreme sport more than filmmaking," stated Ford.
Before joining the MCU with Captain America: The First Avenger, Ford worked on the opposite end of the genre spectrum cutting films like the beloved Christmas classic, The Family Stone, for which he won an ACE "Eddie" Award. Some of his other credits include One Hour Photo, Public Enemies and Crazy Heart. Schmidt joined the MCU on 2012's The Avengers, having previously worked on comic book and genre pictures including Daredevil and I, Robot. His other credits include Contact, A Perfect Murder, and 2007's Halloween (ask him to tell you his Rob Zombie stories).
I sat down with both of them to discuss the massive undertaking of bringing the Tony Stark lead MCU to an end.
For more Crafts Behind Avengers: Endgame visit thehmcnetwork.com
With over 100 film credits, two Oscar nominations, two Golden Globe nods, three Grammy Awards, two Emmy awards and countless other film and music awards, Alan Silvestri has created some of the most iconic film scores in movie history.
Silvestri describes his 35-year collaboration with director Robert Zemeckis like a marriage, "You go through a lot, ups and downs. You develop a shorthand and a trust and then 24 films later. It's amazing." Those 24 films include Forrest Gump, Back to the Future trilogy, Who Framed Roger Rabbit, The Polar Express, Castaway and the upcoming adaptation of Roald Dahl's The Witches.
Silvestri's compositions span multiple film genres: From Predator to Overboard, Practical Magic to The Abyss, Tales from the Crypt to The Parent Trap, this genius can never be pigeonholed. Just look at his IMDb credits for proof. No doubt he composed one of your favorite movie scores.
Silvestri's relationship with the MCU began with 2011's Captain America: The First Avenger and continued with his score for 2012's The Avengers, arguably the most memorable theme in the MCU. That theme has woven its way through every film in the universe since. In addition to those two and Avengers: Endgame, Silverstri also scored Avengers: Infinity War.
In one of my all time greatest fangirl moments, I sat down with Alan Silvestri to discuss his work on Avengers: Endgame and managed to get a few other questions in about his impressive decades-long career.
For more Crafts Behind Avengers: Endgame visit thehmcnetwork.com
On this episode of The Conversations Podcast from The HMC Network, Age of Distraction 4: Almost Invisible. Host Sarah Mason talks to screenwriters Stephen Godchaux and Warren Lewis about aging in Hollywood, how Millennials and the culture of being woke are shaping content, also the continuing impact of Trump and MeToo on storytelling.
For the completely Age of Distraction series and other podcasts visit www.thehmcnetwork.com
On this episode of The Conversations Podcast, The HMC continues its series, Writing in the Age of Distraction with Part 3: Is Social Change Driving the Story. Host Sarah Mason sits down with screenwriters Warren Lewis (BLACK RAIN) and Stephen Godchaux (Roseanne, Dead Like Me) to discuss writing in a politically charged era -- how and why social movements like #MeToo #BlackLivesMatter and #Parkland are driving storylines from Roseanne to Big Little Lies to Get Out. Should story creators be in the bridge building business or simply entertainment us, and does the success of Black Panther suggest audiences want both? We discuss all this and more.
For the full series visit www.thehmcnetwork.com/interviews
On this episode of Conversations With on The HMC, host Sarah Mason interviews award winning VFX Artist, Pav Grochola who is the Lead VFX Artist on Sony Pictures Imageworks upcoming animated film, Spider-Man: Into the Spider-Verse.
Pav Grochola is the Lead VFX Artist for Sony Pictures Imageworks. His credits include Guardians of the Galaxy, Harry Potter and the Goblet of Fire and Edge of Tomorrow for which he won an Annie Award from the Visual Effects Society for Outstanding Effects Simulations in a Photoreal/Live Action Feature Motion Picture.
For more on Pav Grochola and more episodes of Conversations With and other podcasts visit www.thehmcnetwork.com/interviews
Sarah and Jake from The Harold & Maudecast sit down with actor Alex Essoe to discuss her new film, MIDNIGHTERS, a thriller/horror about a couple who try to cover up a gruesome crime and find themselves in a Hitchcockian web of deceit and misdirection. The film premiered at the 2017 Los Angeles Film Festival. MIDNIGHTERS is a horror/thriller from Director, Julius Ramsay (The Walking Dead), written by his brother Alston Ramsay. Co-starring with Essoe is Perla Haney-Jardine (STEVE JOBS), and Dylan McTee (Sweet/Vicious) and Ward Horton (ANNABELLE).
Essoe's upcoming projects including the Val Kilmer starring, THE SUPER and THE MAESTRO in which she plays legendary film actress/dancer Cyd Charisse. You can view more of Alex Essoe's project on IMDB.com
For more interviews, movie and game reviews from The Harold & Maudecast visit www.thehmcnetwork.com
Art & Commerce in the Age of Distraction: Conversations with Screenwriters Warren Lewis and Stephen Godchaux Part 2.
Sarah Mason and Jake Essoe of The Harold & Maudecast sit down with screenwriters, Warren Lewis (Black Rain) and Stephen Godchaux (Dead Like Me), to discuss television content in the age of Amazon, Netflix and how this has changed their process as writers -- is it art or is it commerce.
For Part 1 of our Conversation with Lewis and Godchaux visit, http://www.thehmcnetwork.com/lifestyle
This month on The HMC we are examining content creation in the age of smart phones, Netflix and other distractions. In this preview of The Harold & Maudecast, Sarah Mason and Jake Essoe discuss the concept of Audience vs. Customer. Who are we in today's re-classified content viewing world. Are we audiences or are we customers, or both?
For more on our Age of Distraction series visit www.thehmcnetwork.com
Sarah Mason of The HMC Network (www.thehmcnetwork.com) sits down with screenwriters Stephen Godchaux (Dead Like Me, Spin City, Roseanne) and Warren Lewis (Black Rain, The Thirteenth Warrior) to whether or not quality content can survive in the age of distracted viewing. They explore; what's in store for traditional broadcast television and theatrical film releases, audiences vs. customers, how Netflix and Amazon pulled off the greatest coup ever, why and how audiences are migrating more and more toward streaming content, binge vs. event night and what shows are revolutionizing the way we watch content.
For more Interviews, movie and tv reviews, game reviews and our weekly podcast episodes visit www.thehmcnetwork.com
The HMC Network is a podcast network featuring genre entertainment commentary, movie and TV reviews, video game reviews, lifestyle & travel, event & Con media coverage & more. Featured on the Creative COW is our flagship podcast, The Harold & Maudecast hosted by Sarah Mason and Jake Essoe.
Combining critical analysis with passionate fandom, The Harold & Maudecast offers a fully-informed look at your favorite movies, TV and video games. Commentary and reviews include the latest Walking Dead and Game of Thrones episodes, film festival and Comic Con & fan fest event coverage, technology expos and more.
Fandom Never Gets Old.