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Winter’s Bone
Grand Jury Prize, 2010
Class Project, May 2009


Frozen River
Grand Jury Prize, 2008
Class Project, May 2007


The Recruiter
2008
Class Project, October 2005


Finishing Heaven
2008
Class Project, September 2007


Great World of Sound
2007
Class Project, January 2006


Moving Midway
2007
Class Project, August 2006


Home
Special Jury Prize, 2006
Class Project, July 2004


Manhattan, Kansas
Audience Award, 2006
Class Project, June 2005


Room
Director's Fortnight, 2005
Class Project, March 2004


Red Doors
Official Selection, 2005
Class Project, July 2004


Swimmers
American Spectrum, 2005
Class Project, January 2004


Room
Frontier Selection, 2005
Class Project, May 2004


Evergreen
Dramatic Competition, 2004
Class Project, May 2003

Home > Courses > Six-Week Course > Testimonials
The Six-Week Art of Editing Class Now Includes Avid.
The Edit Center students on editing stations

Testimonials

Students

 

Directors

Chad Beck (Alum, March 2003)
Editor, No End in Sight (Academy Award Nominee 2008)
Taking the six week course at the Edit Center was the best career decision I have ever made. As far back as I can remember I wanted to go into film editing. Before the Edit Center, I was working as a web developer and had put editing in the back of my mind as an unrealistic goal... More

 

Ethan Hawke
Director, Chelsea Walls (Director's Fortnight, Cannes 2001)
There were so many story lines in the movie that I wanted a lot of people giving input. And students' minds are more open to breaking conventions. We didn't have enough money for even one assistant editor, so to have all of these enthusiastic people helping us out for free was fantastic... More

Sarah Devorkin (Alum, March 2007)
Editor, Strange Powers: Stephen Merritt and the Magnetic Fields (SXSW 2010)
The 6-week Art of Editing was the best class I’ve ever taken, and far and away the most valuable for me professionally.  I had dabbled in documentary film since graduating college two years earlier, mostly working as an archival researcher... More

 

Kyle Henry
Director, Room (Director's Fortnight, Cannes 2005; Frontier Selection, Sundance 2005)

Two sessions at The Edit Center kept the balling rolling for Room at a crucial point after production when funds for post were non-existent. It was a a wonderful gift for me as a director to see a completed assembly early... More

Cindy Lee (Alum, January 2005)
Editor, Manhattan, Kansas (Audience Award, SXSW 2006)
Before I came to the Edit Center, I was working a corporate job, which was my first “real” job out of school.  It took me a year and a half to realize that it was not the place for me and be brave enough to quit my job... More

 

Georgia Lee
Director, Red Doors (Best Narrative Feature, Tribeca 2005; Special Jury Award for Ensemble Acting, CineVegas 2005)

I can not imagine a better post-production home for Red Doors than The Edit Center. Compared to the rush and madness of production, editing is typically a much more solitary experience. But with a roomful of passionate students, we continued the excitement... More

Michael Taylor (Alum, July 2001)
Editor, Day Night Day Night (Prix Regard Jeune, Cannes 2006)
The Edit Center changed my life. When I enrolled for the summer 2001 session, I was an experienced script supervisor (Prime, Monster's Ball, You Can Count On Me) with a desire to become an editor but no idea how to do it. I was editing from my first morning at the center... More

 

Gary Winick
Director, Tadpole (Best Director, Sundance 2002; Miramax Films)

From both a producing and directing standpoint, the Edit Center is a great way to work. On Tadpole, I was able to get a better sense of the movie in a shorter amount of time and to collaborate really well with my editor, who as a class instructor had already seen the footage from different perspectives... More

Stephanie Ahn (Alum, March 2009)
Asst. Editor Happythankyoumoreplease (Audience Award, Sundance 2010)
I graduated film school just as filmmaking was making significant headway into the digital world. Making movies on micro-budgets became more feasible but I would have to familiarize myself with new technologies, and non-linear editing was the first thing I felt I needed to learn... More

 

Jeffrey M. Togman
Director, Home (Special Jury Award, Silverdocs 2005)

The Edit Center is an important and dynamic part of New York City's indie scene, housing a community of filmmakers that combine the highest levels of professionalism with an inspiring artistic esprit de corps. My film, Home, is a better movie for having been a class project... More

Alice Wu (Alum November 1999)
Director, Saving Face (Distributed by Sony Classics)
The Edit Center is one of the best environments for learning that I've ever experienced. You cut scenes with the freedom to try your ideas and the safety net of mentors. Not only are you picking up skills, but it's FUN. This is doubtless the best way to train as an editor. In addition, it is excellent training to become director... More

 

Jesse Moss
Director, Speedo (Audience Award, Full Frame 2003; POV Series-PBS Channel)

Speedo was an independently financed documentary, made on a shoe-string budget. Three years into the production, I had begun to lose faith in the project and the story.  I had also run out of money. The Edit Center experience was completely rejuvenating.... More

Alec Styborski (Alum, September 2005)
Asst. Editor Sleep Dealer (Sundance 2008)
Before taking the six-week course at The Edit Center, I was on a leave of absence from college and had no idea what to do. I had a continuing interest in film and video and knew I needed a learning environment that was hands-on and specific to editing. When I came across The Edit Center on the internet, I knew it was the perfect fit and I enrolled immediately... More

 

Catherine Cahn
Director, Charlie's Party (CineVegas 2005)

My producers and I were still hung-over from the Charlie's Party wrap party when we sat down with The Edit Center staff to discuss having our film edited by students. Even with our headaches, we quickly understood that working with The Edit Center could save us time and money... More

Katy Skierping (Alum, March 2001)
Asst. Editor, Match Point (Dir. Woody Allen) Raising Victor Vargas (Independent Sprit Award)
I moved to New York a few years ago with editing on my mind. Coming from Tucson, I didn't have any good leads on how to even get started in the business. I was trying to break in on my own — and I couldn't even land a craft services job at Sony... More

 

Elliot Greenebaum
Director, Assisted Living (Best Feature Film, Woodstock 2003; Grand Jury Prize, Slamdance 2003)

I shot my feature, Assisted Living, in a very disorganized way, and so I'm both pleased and embarrassed to be a director who needed to participate in the Edit Center twice on the same film. During the first session, I learned about my mistakes as a director and was able to better plan my reshoot. Then, after the reshooting, I was fortunate enough... More

Ben Laffin (Alum, January 2008)
On-line Editor, My Perestroika (Grand Jury Prize Nominee, Sundance 2010)
Not all that long ago, I had a desperate desire to pursue a career in editing, but what I did not have were: a) editing skills and b) connections... More

 

Michael Burke
Director, The Mudge Boy (Dramatic Competition, Sundance 2003; Showtime Channel)

We brought our film The Mudge Boy to The Edit Center because of its excellent reputation and, frankly, because it was a great deal. The staff and teachers were extremely friendly and helpful and tech support was great. What really impressed me about the experience and what I remember most, however, was my time spent with the students... More

Anita Gabrosek (Alum September 2002)
Editor, Cropsey (Tribeca 2010)
I graduated from film school with an MFA in film production, but as much as I loved editing, I never felt like I really learned the craft of it. After moving to NYC, I worked in theater and as a writer, but always wanted to get back into film. Then I found The Edit Center through a friend of mine who is a director. It was one of the smartest moves I ever made... More

 

Leslie Shearing
Director, Unscrewed (Golden Zenith Jury Special Recognition, Montreal 2004)

I first contacted the Edit Center to inquire about taking their editing course so that I might be able to cut Dogs in the Basement myself. I had recently completed principal photography, and I didn't have the budget to hire an experienced editor at going New York rates. Classes were filled for upcoming sessions... More

Todd Holmes (Alum March 2003)
Highway Courtesans (Int Documentary Film Festival Amsterdam 2004)
I lived in LA my whole life, and had worked for over 10 years in various interactive media jobs, from CD-ROMs to websites. And even though it was fun, I had always found myself more drawn to linear storytelling. After the dot-com implosion, my reasons for staying involved in that business quickly diminished, and I began exploring the other options... More

 

Todd Lubin
Director, The Year of the Bull (CineVegas 2003; Showtime Channel)

Simply speaking, The Edit Center was one of the lynchpins that brought my film from a collection of ideas to a cohesive feature that will premiere on Showtime. When I finished shooting my film, I had little perspective of the project. I couldn't distance myself from the minutiae of the stories I had captured. My editor, Emir Lewis, introduced the idea of working with The Edit Center... More

Paul Frost (Alum, September 2003)
Editor, Doubletime (SXSW 2007)
I always enjoyed editing my own projects, but as the pragmatic son of a mortician from Minnesota and a recent college grad with a degree in computer science, beginning a career in film and television was close to the last thing I could imagine myself undertaking (Undertaking being the last thing).... More

 

Shira-Lee Shalit
Director, A-List
The Edit Center has been a fantastic experience for me on my first feature film. Having my film chosen for the class (which, in itself, felt great!), kick-started my post-production process and definitely saved us financially. As I was excited to get started on post and didn't have to wait for all the post-production financing to be in place before I was able to start.... More

 

Paul Sullivan
Director, First-Time Caller
I was referred here by a former Edit Center teacher and now I would recommend it to any independent filmmaker. The set-up of the class is unique, very productive and exhilarating. It is amazing to be able to see many different scenes from the film at once. And getting the unusual experience of seeing parts of the film from 10 or 15 different perspectives... More

 

Lee and Margaret Chabowski
Directors, What Goes On
It was truly a great opportunity for us to work with The Edit Center on our What Goes On project. When we first called the Edit Center, we never could have imagined that things would go so well for us. Being asked to contribute our project to the class was our first bit of validation for our many months of hard work... More

 

Braden King
Director, 1000 Miles: Dirty Three
I honestly don’t think that my experience with the Edit Center could have been better. 1000 Miles is a film that was shot and worked on over a period of about six years. I brought it into the Edit Center at the beginning of our final editorial push. The process that I went through with the film at the Edit Center surpassed any hopes I might have had for what I would get out of it. The students were smart, engaged and responsive... More

 

Alan Brown
Director, Superheroes (Philadelphia Film Festival 2007)
If you’re fortunate enough to have Edit Center students working on your feature film, as I was, it’s a tremendous creative luxury. It’s like having a whole troop of editors, each one with a different talent and background – some narrative, some visual, some musical. Ideas came to me during the editing process... More

 

David Conolly & Hannah Davis
Directors, The Understudy
Working with the students and teachers at the edit center was a terrific experience for us. Not only is it very comfortable environment to work in, it allows a low budget movie like ours the kind of help usually reserved for studio productions. The first major advantage is the speed in which we could view our material and the depth we could go into as we effectively had at least ten people cutting scenes independently... More


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