Stam disappointed after Reading’s loss at QPR

first_imgEmbed from Getty ImagesReading boss Jaap Stam insisted his side are not suffering a play-off hangover after their season started with a 2-0 defeat at QPR. It was a miserable afternoon for last term’s beaten play-off finalists, who had Tiago Iloro sent off and saw summer signing Jon Dadi Bodvarsson go off with a knee injury in the second half.Conor Washington scored both Rangers’ goals, heading in from close range on 22 minutes and slotting home a penalty 14 minutes into the second half after Iloro had been red-carded for fouling Pawel Wszolek in the box.“The players need to be up for it again and they are,” said Stam.“The play-offs is an easy excuse. It needs to be an inspiration for the players – and it is.“You have to want to be in that position again and we do. To do well you have to work hard and have some pain at certain times.“We just didn’t play well. We knew QPR were going to play a certain way to stop us getting opportunities and they did that very well.“The sending-off was obviously a turning point but at 1-0 we had chances and didn’t take them.“We were not good enough and if you don’t do what you need to and bring a certain level of aggressiveness you are not going to beat teams.”However, Stam did feel that play should have been stopped in the build up to Iloro conceding the all-important penalty as Bodvarsson lay injured.The Dutchman said: “I think play should have been stopped. Bodvarsson was on the floor and he was screaming with his knee.“Then, after that, there were a couple of times when someone was down and the game was stopped.”See also:Two for Washington as QPR beat ReadingHolloway: QPR’s pressing style is here to stayQPR v Reading player ratingsHolloway explains Manning’s absence for QPR’s win Follow West London Sport on TwitterFind us on Facebooklast_img read more

How to Avoid a Bad Strategic Partnership for Your Startup

first_imgchris cameron A Web Developer’s New Best Friend is the AI Wai… The Good & the BadFor startups, strategic partnerships boil down to pretty clear pros and cons.The Good: Strategic partners can provide much needed capital, especially at a time when financial investors may be balking at the company. They can also provide resources and exposure for the startup than can be invaluable to its success.The Bad: Strategic partners aren’t as focused on the interests of your company, and in most cases aren’t even in it for the money. Companies take on smaller partners to help promote their own brand or to leverage new technologies. While a strategic partner could lead to an eventual acquisition, it could also prevent the startup from being acquired elsewhere.The Solution: Be wise. Carefully inspect the details of the partnership and be sure it doesn’t forfeit too much power to the partner. If need be, use merit-based rewards or other incentives to ensure the partner holds up its end of the bargain.For startups, a strategic partner is a careful endeavor to consider, but if done right it can be beneficial. If you have any other reasons why a startup should or should not take on strategic partners, please share your thoughts in the comments below! Top Reasons to Go With Managed WordPress Hosting Related Posts In the world of the investing in and acquiring of companies, strategic investments sit on the fence between these two camps. When an established company sees a smaller one making progress in a field that it is interested in, it may make an investment in the company for one of several reasons. Doing so can give the company a bit of leverage in terms of helping steer the startup while not dropping a big acquisition investment. That said, it is important for startups to understand both sides of the coin before taking on strategic investors.center_img “One way I’ve seen a startup navigate [the right of first refusal] clause is by narrowing the timing of such a blocking right to 6 months or 12 months. I’m not a fan of that either.”– Bijan Sabet, Spark CapitalSpark Capital partner Bijan Sabet wrote on this very topic today, pointing out the potential pitfalls for startups with strategic investors. He says that in his experience, relationships with strategic investors are usually not positive ones for startups because of the misalignment of incentives. A venture capitalist is incentivized to see the startup succeed; the better the startup does, the greater the VC’s return on investment. Strategic partners, on the other hand, obviously care more about protecting themselves than the success of a smaller company. As Sabet adds, this can lead to bad deal terms for the startup, including giving the partner the ability to block an acquisition.“They don’t want to see your company being sold to a competitor,” writes Sabet, referencing a “right of first refusal” agreement. “One way I’ve seen a startup navigate this clause is by narrowing the timing of such a blocking right to 6 months or 12 months. I’m not a fan of that either.”Another way that Sabet suggests startups can avoid bad strategic partnerships is to introduce incentives for the partner to turn the tables a bit. Startups can set goals or quotas that will incentivize the partner to provide for the startup in order to receive its equity. With this safeguard, if the startup doesn’t significantly benefit from the relationship in the way that it needs, the partner goes home empty handed. Tags:#start#tips Why Tech Companies Need Simpler Terms of Servic… 8 Best WordPress Hosting Solutions on the Marketlast_img read more

iPhone to Android: One Week with the Nexus S

first_imgWhat it Takes to Build a Highly Secure FinTech … Why IoT Apps are Eating Device Interfaces Because podcasts are an important part of my mobile experience, I quickly sought a way to replace them. What I found was a dedicated app from Google that is supposed to function as a podcast player: Google Listen. Although it’s a Labs project (meaning beta or early release), it sounded perfect: “search, subscribe, download and stream” it said. What more do you need? Only one problem: Google Listen required an SD card to store its downloads to. The Nexus S doesn’t have an SD card slot, so Google Listen wouldn’t work. (This problem appears to be solved by one of the latest updates, however.) My first thought at the time: this would never happen with Apple. Tags:#Google#mobile#NYT#Product Reviews#web But Wait, Where’s my Google iTunes?One of the first major pain points I hit from the iPhone to Android transition was iTunes withdrawal. Although I rarely purchase music from iTunes these days (MOG, a $10 per month, all-you-can-stream music service fulfills my needs), I do use iTunes for music and podcast management, organizing my apps, and downloading or renting TV shows and movies.There are third-party services that allow you to copy over your media libraries from the computer to Android, but they aren’t provided by Google and are often incomplete, lacking features and functionality. DoubleTwist, a popular application which has been called the “iTunes for Android,” doesn’t allow you to subscribe to podcasts if you’re a Mac user. The other thing I really missed by leaving iTunes behind was video. Where do you get video on Android? And I mean professional content, not “user-gen,” YouTube videos and Internet webcasts. I mean Hollywood-produced stuff. Current TV shows, movies? The answer: you don’t, not really. There’s no Netflix app for Android (yet), there’s no iTunes ecosystem, there’s no Hulu. The few apps that do allow for streaming either include you having to configure software on your PC (Orb), subscribe to a service (Slingbox) or they offer limited selection (mSpot Movies). It’s an oddball mix. That means the easiest way to get movies and TV shows to your Android, sorry to say, is bittorrent. You torrent the file, drop into into DoubleTwist (or another media management app) and sync. Of course that’s wrong, and it’s illegal. So don’t do it!The Killer Apps (& the Rest)Then there are the apps. There was an interesting discussion on the Internet recently where a longtime Apple insider John Gruber asked: where are the killer Android apps? He wanted to know about the Android exclusives, the Instagrams and Flipboards of the Android world, that is. He didn’t want to count the innovative keyboard replacement apps like Swype or homescreen replacements like Slide Screen, because those couldn’t exist on Apple, so that’s not a fair comparison. OK, fine. Nor did he want to count Google’s own apps because… wait, what? Because Google’s apps are far, far better on its own OS than on iPhone, perhaps? Role of Mobile App Analytics In-App Engagement As a (relatively) new mom, the one thing my smartphone needs to do and do well is take great photos. Google touts its camera as being able to take “stunning photos and videos.” I disagree. The camera couldn’t get an action shot of my 1-year old to save its life. Try after try after try. When I shared this information on Twitter, a discussion flared up on FriendFeed, where my tweets are archived.As one user (Johnny Worthington) explained, it’s not just the megapixels that matter when it comes to taking photos. The camera’s sensors matter too. Even Apple CEO Steve Jobs pointed this out in his keynote address, saying, “megapixels are nice, but what these cameras are really about is capturing photons and low light photography. So we’ve gone from 3 megapixel to 5 megapixel, but we’re using a backside illuminated sensor.” Long story short, moving toddler + varying lighting conditions + iPhone = great photo. On Android, those same conditions lead to a series of blurred images.Another minor bug with the photo gallery occurred when I uploaded a photo taken vertically directly from the gallery to Facebook (handy feature, by the way), it posted horizontally. Maddening. Happens every time.On yet another occasion, after posting pictures to Foursquare using the new check-in feature, I later returned to the phone’s photo gallery to find that all of my newest pictures were gone. Pictures that only existed on the phone, because I had yet to post them elsewhere. (I guess I should have left Pixelpipe enabled, hmm?) While my husband teased that it must be “user error,” I pulled out a bag of tricks left over from my Windows days – I rebooted the phone.Sure enough, upon restart, the phone noted it was “checking USB storage” for errors and when it completed the boot up, the photos had returned.Oh, Android.Battery LifeSupposedly, the battery life is supposed to be improved on the Nexus S – Engadget, for example, got 20 hours during heavy use. I’d love to know how. My Nexus S battery can’t make it through a day. Even after pairing down the apps to just those from “responsible” developers, making heavy use of the Android Task Killer app, the battery just drains. The most common activity that leads to drains appears to be the Web browser, from what I can tell. Although, according to the phone’s battery drain monitor (an included Android tool, if that tells you something), the top offenders are the display, Google Maps, Android System, Cell standby, Android OS and Wi-Fi. Yes, just my phone being a phone.Comparatively, my iPhone, jailbroken no less, can make it much, much longer. It will still have a charge even if I forget to plug it in overnight, for example. The Nexus S would just die.Plus, while in use, the phone really heats up. Cold winter? Break out the Nexus S. That’s a hot little handheld… literally.iPhone or Android? Granted, I’ve mostly focused on the glitches and problems I had with the Nexus S, some of which were even corrected before I posted this (e.g. Google Listen). I don’t want to take away from what the Nexus S’s many strengths are – the complete Google Experience, the Voice Actions, the integrated Google Voice and Skype calling, the portable Wi-Fi hotspot, NFC, Navigation, a better keyboard, and, although I didn’t mention it – the speedy, well-equipped Web browser and a usable copy-and-paste (still needs improvement, though).At the end of the day, however, can I switch to Android? I guess not. I took my waterlogged iPhone to the local i-Hospital and they’ve repaired it. A new cable, a battery and $160 dollars later, my iPhone is ready for pick up. I haven’t gotten it just yet. I’m going to give the Nexus S until the end of the month to change my mind, before switching back. After 30 minutes of frantic searching, I found my iPhone. Under four inches of water. In a pond. Sunken deep into the sandy bottom. The story of how it got there isn’t all that interesting – it involves chasing a squealing toddler running towards the water’s edge – I never even heard the quiet sploosh at the time, when the phone slipped out of my pocket somehow, and into the water. But the horror I felt seeing the shiny little Apple logo glinting in the afternoon sun beneath the rippling surface is something I won’t soon forget. My iPhone. Destroyed.Luckily for me, I had a backup. For over a week, I had been playing with the brand-new Nexus S, Google’s latest flagship Android device, running the stock version of the Android mobile operating system code-named Gingerbread. But I hadn’t switched over to make it my primary device. Now I had no choice.We’ve been a dual iPhone/Android household for some time now, because my husband bought the Galaxy S (AT&T Captivate) shortly after it launched and I had the iPhone 4, after an upgrade from the 3G. I’ve had plenty of time to go hands-on with Android, delving into both the OS and the flourishing application ecosystem. I’ve installed, configured and tested many apps on the Galaxy S, and for a while, I was even jealous that he had the newer phone. Android felt more modern, more functional and more “tweakable” than the iPhone. The screen was bright, it had widgets, live wallpaper, built-in navigation, voice-activated everything and a notification system I still long for. It seemed like a step up.But now I wondered: can Android be my permanent device?Before getting started, understand that this isn’t meant to be a comprehensive review. I don’t review gadgets, nor does ReadWriteWeb. We know there are plenty of other places where you can get detailed specs, analysis, and descriptions of everything about this phone, from hardware to software. This is not that. Not by a long shot.Getting Set UpInitially, once I got over the shock of the iPhone’s unfortunate death, I was excited to try the Nexus S. I installed widgets and apps and set up the phone to work with my Google Voice account. That alone was a major plus. On Android, you don’t have to launch a separate app to make a Google Voice call – it’s integrated with your phone. You can make outgoing calls via Google voice, send and receive text messages through Google Voice, even access visual voicemail messages with the app – and they’re transcribed.Or, if you prefer, you can use Skype Out to make calls, too. Again, just by pressing the phone button.These are great features.Talking to Your Phone sarah perez Related Posts I went in search of replacement apps. Unfortunately, outside of the Google app ecosystem, the apps I found were a huge step down in terms of functionality. One I tried called Podcast by Magma Mobile just stopped playing my podcast in the middle of an episode because the podcast I was downloading in the background completed. As I tried to figure out what was going on, I somehow even ended up playing two podcasts at once. That shouldn’t even be possible!I found that for some podcasts (CNET, Engadget, TWiT, e.g.), it was actually preferable to use their own dedicated app. But this leads to a disjointed experience, where features, controls and user interface vary wildly from app to app. It’s true. Google Maps has 3D. Google Navigation gives you spoken, turn-by-turn directions. Google Voice, as noted above, is built-in and integrated with your phone. On the Nexus S, Google Tags is the first mainstream NFC (near field communications) app that lets you scan NFC tags, soon to be a revolution in mobile advertising and mobile payments – just wave your phone by a poster with an NFC tag, and your phone will take action, opening the Web browser and navigating to a particular Google Place page, perhaps, like Google is testing now in Portland.Gmail, Calendar, Voice Search, Google Earth, YouTube, etc. – all the Google Apps are built-in. The phone is the complete Google experience where Google’s latest innovations have a chance to shine, instead of being begrudgingly admitted into a curated app marketplace after FCC pressure demanded it, as Google Voice was, at long last, on iPhone.That said, working with the non-Google apps was an odd experience. Of course, the mainstays are there: Facebook, Twitter, Foursquare, Yelp, Amazon, IMDb, Pandora, Pixlepipe, Skype, WeatherBug, etc. But the features and functions of each app are tucked away in menus and settings, with no real consistency from app to app. There’s a surprising amount of configuration that has to be done with the apps, too. For example, in CNET’s app, I was surprised to find it hadn’t updated the podcast list – you have to tell it to download new episodes and when. After installing Pixelpipe, I was surprised to find that, after taking a photo, I was immediately prompted to share it via Pixelpipe – a handy feature, but on by default? That’s odd. I had to shut it off, or hit “cancel” after every snap. The Magma Mobile podcast app oddly began running in the background, providing me with “notifications” from “Magma Mobile News,” which, if tapped, took you to a list of news about new Android apps and updates. It was like I had installed some sort of adware on my phone. And I had to kill the app from running with the ever-present Advanced Task Killer app. Sigh.For the second time, I thought: this would never happen on iPhone. Don’t get me wrong, I love that I can choose to do more on Android out-of-the-box. I mean, who doesn’t want a mobile hotspot? But sometimes that openness felt too open. I’d rather apps ask before they integrate, for example.So what apps did I end up installing? Twitter, Facebook, Foursquare, Amazon, Kindle, Angry Birds, Barcode Scanner, Best Buy, Bump, CNET Audio, DoubleTwist, Dropbox, Engadget, FiOS Mobile Remote, Grocery iQ, IMDb, Google Listen, mSpot Movies, picplz, Pixlepipe, ShopSavvy, Skype, SwiftKey and Swype, Microsoft Tag, Tango, Target, Trapster, TripIt, TweetDeck, Waze, WeatherBug, Where’s My Droid and Yelp. That got me going, now I’m hunting for the unique and interesting apps, and exploring the popular homescreen replacements.Taking Photos Something as simple as texting a friend or performing a Google search can be done via voice. With the Nexus S, you can really talk to your phone. Voice access is everywhere – on homescreen widgets, a “voice” button on the new Android Gingerbread keyboard, or you can just press and hold the Search button. Voice Actions, a new pre-installed feature on the Nexus S lets you give the phone commands. You can send texts, start phone calls, ask for directions, launch Navigation, see a map, launch the browser, configure an alarm, play your favorite music and more.And anywhere there’s a blank text box, you have the option of hitting the voice button instead of having to type in letters, one by one. If you choose to enter text the old-fashioned way, however, the new Android keyboard works well. With auto-suggested word completions appearing above the entry box, (very much like the SwiftKey app allows for although not quite as smart – it doesn’t appear to be an adaptive system), typing is much faster than on iPhone. The Rise and Rise of Mobile Payment Technologylast_img read more

Build Your Own Facebook & Use It on Your Desktop: Seesmic Adds Elgg Support

first_imgA Comprehensive Guide to a Content Audit Tags:#Groupware#news#Open Source#social networks#web Open source social network framework Elgg (like WordPress for Facebooks) is now supported by social media client app Seesmic, according to an announcement on the Seesmic blog this morning. With the addition of the Elgg plug-in, Seesmic users can now view and update multiple Elgg networks in the same interface they use for Twitter, Facebook, Ning and numerous others. That’s good news for Seesmic, which is in a very competitive market.Elgg is good for groups interested in creating niche networks under their own control, either publicly or privately. The service can run on your own servers or through a hosted version just launched last Summer. It came from the Education world and is used today by various organizations including Oxfam, Hill & Knowlton PR, the Australian government and the state of Ohio. Seesmic is a Salesforce-backed social network meta-service, allowing users to interact with multiple networks on multiple platforms.Open source social networking is good for the web and for the world because it advances user and community freedom and helps mitigate the power of social network behemoths. Support for open source social networks by proprietary software like Seesmic is great for everyone and helps enrich the usefulness of those networks and the software used to build them.Neither of Seesmic’s leading competitors, Tweetdeck and Hootsuite, appear to support Elgg to date.Leading social business analyst firm Altimeter published a research report last month about this sector of apps, which it calls social media management systems. That report identified 28 leading vendors. Altimeter’s Jeremiah Owyang writes about the market:“Social Media Management Systems… which help companies manage, maintain, and measure thousands of social media accounts, [and] are the next growth market for the social business category. While saturation is at 58% of corporate buyers, the average deal size is a meager $22,000 but will expect to grow to six figure annual deals in coming quarters to meet market demand. White label social networks, like Elgg, are plentiful as well. ReadWriteWeb has done two in-depth interviews with Elgg co-founder David Tosh over the past 4 years. Tosh is now “experimenting” on a stealth project called Bluejac.Below, a screenshot of an Elgg community accessed via Seesmic. The Dos and Don’ts of Brand Awareness Videos Related Posts center_img marshall kirkpatrick Facebook is Becoming Less Personal and More Pro… Guide to Performing Bulk Email Verificationlast_img read more

The Ad Astra Editing Team On Creating “Quiet Intensity” in The Edit

first_imgThe Ad Astra film editing team sat down with PremiumBeat to describe their process and what it’s like working with director James Gray.The work of director James Gray has always intrigued and impressed me, in that it seems that with each film, he chooses a different genre or environment to host his characters. With entries in romance (Two Lovers), period drama (The Immigrant), crime-thriller (We Own The Night), and even historical adventure/drama (The Lost City of Z), Gray has always surprised me with how he re-invents the stage for the types of human interactions and tone he likes to put on screen.Having said that, his films always have a similar thread. There is a subtlety to the intensity and the rising tide in each of his films — a sort of understated and quiet approach to creating an utter sense of dread or drama. You could definitely say that this is because of the director’s sensibilities and fantastic skills at building tension, which it definitely is, but you need a competent team of artists behind you helping you deliver that intensity.If you’ve ever made a film with tension and drama, you know that a majority of those things get built up in the editing room. Much like comedy or horror, the timing and the subtlety in the cut is of upmost importance for creating that lulling discomfort and anticipation of what might happen. This editing style is ever apparent in Gray’s latest film Ad Astra, Which is an extremely well-edited film.We were lucky enough to speak with the editors of Ad Astra, John Axelrad and Lee Haugen. They were kind enough to share insights about the types of issues they encounter on films like this, and how they work as a team to deliver this “quiet intensity.” PremiumBeat: To start, can you just give me a quick introduction to yourselves and your background in the industry?John Axelrad: My name is John Axelrad, I’ve got the little ACE behind my name (laughs). I have been working as a feature film editor for about 20 years. I first started off as an assistant editor on some high-profile films, with editors like Anne V. Coates. I worked with her on Erin Brockovich and Out of Sight. I made my way into editing over the years and have now collaborated with James Gray on five films, Ad Astra being the fifth.Lee Haugen: I’ve been in editing features for about 10 years now, but I started out as an apprentice working on my first film with director James Gray and John and assistant editor Tom Cross (who has since gone on to edit many films). It was a very fortunate first experience for me to have the opportunity to work as an apprentice with such great filmmakers and collaborators. I worked my way up to editor through working on TV, and also I got a good break with the movie Dope I edited, which won Best Editing at Sundance. Then right after that, I was able to join back up with John and James for The Lost City of Z. Then Papillon, then Ad Astra.A frame from We Own The Night, James and John’s first collaboration together.PB: John, I guess you and James have worked on every film together since We Own The Night. How did you guys meet, and how would you describe your collaborative process together?JA:  Well James and I actually met at USC film school. We were both there in the late ’80s early ’90s, and that’s where we met. So he he knew me, and when I came recommended to him to do We Own The Night I was just a natural fit. He had respect for me having seen the work that I did. James is a marvelous filmmaker; he really understands the subtlety and power of editing more than most directors I’ve worked with. He is very neoclassical in his approach. He somehow challenges the viewer, since we’re accustomed to faster cutting and faster pacing. But with James, it’s more of a methodical approach. You know the intensity of the performance, the subtle power of juxtaposing sound and image coupled with performance and cinematography. Having worked with him on five films, I really understand how he thinks. That’s part of the process with any director you work with. You really need to develop that second language and truly understand what he or she wants.There is a quiet intensity is how I would describe how he likes to edit.A frame from The Immigrant, another one of James and John’s collaborations.PB: Wow, yeah that’s definitely how I’ve always perceived it as a viewer. One thing I’ve also always really liked about James’s work is that it just seems like from film to film — he kind of switches up the genre and does something pretty unexpected. He’s kept a common thread of that “quiet intensity,” but It’s always within a different genre. So with each different film, how much does your workflow change as it relates to each different genre?JA: I like to always challenge myself and choose different types of projects to edit. With James, he’s really trying to expand his his worldview and his vision and his talents as a filmmaker and challenge himself on every film he does. He doesn’t want to be pigeonholed. So, I ultimately think that the process of the the editing is not really different. We work extremely methodically. He likes to work in a very chronological order and really perfect things before we go onto the next scene because he’s very narrative driven. There’s a common thread throughout his films where there’s usually one main character, and the film is that person’s point of view.But yeah,  it’s a whole different genre, and dealing with space travel and just dealing with all the visual effects that are required for science fiction is a totally new frontier for James, and we knew when we all started this was gonna be the most challenging.PB: So you would say this film in terms of the edit was the most challenging one you’ve worked on together?JA: Yeah it was. This one was especially challenging just because of the complexity of the story and the nuances coupled with science fiction, because we had to make things plausible. We had to make it realistic and not completely farfetched. He really wants to embrace plausibility and not become something that’s just pure fantasy.LH: We all had to toe the line of how much we wanted to explain the science of it, to help people understand. Of course, story is number one. But then how much do we sprinkle in of the scientific explanation without losing the driving force of the story.PB: So it was a process of eliminating certain things that felt like it was like over-explaining, but then putting yourself in as the viewer to make sure that it was understandable enough while not being too “hand-holding?”LH: Yes, exactly. So it was great to bring people in who didn’t know the film — and get their thoughts on how much we needed to explain or didn’t need to explain.PB: What was the editing workflow of the film? Were you editing during production, or was it all after? How do you deal with editing pre-viz special effects? Our readership is mostly filmmakers, so feel free to be as technically specific as you want. What is the workflow for a sci-fi epic like this?LH: We do edit right along as they’re shooting in production. We were given some pre-viz that was done beforehand for certain action scenes that we were able to work with during production. This was great, because as they were shooting these action sequences throughout a couple of days, we were able to replace the pre-viz and be able to track how it was flowing and communicate with set to let them know if we needed more close-ups or needed more wides for action scenes, things like that. Then we did have some post-viz (CG scenes) scenes for when we needed an extra wide shot or two to make it flow better. That’s pretty much that’s how we work. John has an interesting story with that stuff though.JA: I drew the short straw in Death Valley. During the summer in the desert heat. In the trailer you’ll see there’s kind of a battle between some lunar rovers on the surface of the moon. They did shoot that mostly in Death Valley, and the first six days of it were with stunt doubles doing the actual stunts. Then, the actors performed their roles several weeks later, after I had cut something from the second unit action scenes. So then, I incorporated all the close-ups and actors performances. Then, we were still missing other elements, and that was planned, but we would then bring in the stunt team and they would perform more stunts on the stage that would cut together with the actor’s performances. Then the CG work filled in all the other holes. So it was kind of a slow-motion process of that scene coming together over many months.PB: How do the two of you work together as a team?JA: I think it’s a very natural process to have the two of us cutting. Lee was a perfect partner to work with because James knew Lee from before. I find it a very liberating experience to be co-editing with somebody. It allows you to explore the film from many different points of view and to really enhance the creative process of putting it together. When you’re editing with someone, you have someone to bounce ideas off of, and that’s to the benefit of the movie.LH: Yeah, I totally agree. I absolutely love collaborating and working with John and the rest of our core team. We all kind of work together, and being able to go in a room by yourself, work through a scene, and then go to someone who you have confidence in and watch the scene together and analyze it and point out things that they would do differently just makes the film better. We are all artists in our own right, but we wanna make sure that we create the best possible scene that we can.PB: The last question I always ask is do you have any advice for people starting out who want to eventually be working on big sci-fi films like this?LH: I would say get out there and get on any job you can. If you want to go into feature films, do everything you can to be in future films. Make the most contacts you can. Talk to everybody that you know in the industry, or knows somebody that knows somebody. Don’t be afraid to come in and offer your services and try to see and try to offer a way that you can help them out. Just in order to learn the experience of working in a feature film. It’s not something that I could learn at a college — exactly how the process works. It’s kind of an unwritten process of how you become a feature film editor of space movies.JA: You definitely don’t learn this stuff in film school. But what I tell a lot of people that I think is true that a lot of people would agree with is that opportunity is when preparation meets a little bit of luck. You do need to prepare yourself, and study — know the software. I recommend starting as an assistant editor to really see how the underbelly of the process works in the editing chair. Understanding the politics of the editing room. Understanding when to speak and when not to. Understanding everybody’s roles, what the studios do, what the producers do. Working with directors and actors. But you do need a little bit of luck. How I met James for instance, and how I happened to be available when he was looking for editors for We Own The Night. The preparation is the hard work, and if you stay at it, opportunities will happen.Looking for more industry interviews? Check these out.Editor Tom Jarvis on Carpool Karaoke with Paul McCartneyIndustry Insights: The Man in the High Castle’s Cinematographer Gonzalo AmatInterview: Composer Chad Cannon on the Obamas’ Higher GroundIndustry Insights: “Better Call Saul” Production Designer Judy RheeIndustry Interview: “Whiplash” Production Designer Melanie Joneslast_img read more