There’s a cool, early-morning breeze off the ocean carrying with it the aroma of woodsmoke and orange blossoms. I’m with CinemaEditor magazine Editor in Chief Edgar Burcksen, ACE, who has just finished a 25-mile ride down the coast on his Cannondale Supersix bike with Velo Club LaGrange. We’re sitting outside Peet’s Coffee on 14th and Montana in Santa Monica.
“I love California. When I left Amsterdam, I came first to Marin County and worked with George Lucas on the EditDroid for a couple of years. The Bay Area film world is all about post-production and it’s a supportive, knowable community. A good transition from Europe. Then on to L.A.
It was by then the early 1990s.” “What brought you to American Cinema Editors and our magazine?” “In Holland, I was part of a group of experimental filmmakers who had an avantgarde magazine, SKRIEN. We learned that
we make different kinds of aesthetic connections in the cutting room and in print. I value exploring aesthetics and storytelling through the written word as well as with images on the screen in the camaraderie of a like-minded group of artists.
That’s ACE for me. I was invited to join ACE in 1998 and became Editor in Chief of CinemaEditor in 2001 after an article I wrote on the psychology of working in the cutting room garnered some attention.” Edgar took over from Chris Cooke, ACE, who had worked with the magazine in transition after Jack Tucker, ACE, had spent years nurturing it from a small mimeographed member newsletter, getting it on its feet as a full-color glossy periodical.
“Our magazine gives film editors a voice. It advances every aspect of our mission statement at ACE. And now CinemaEditor has a global reach. It’s on newsstands around the world – the only periodical where post advertisers can connect directly with an international audience,” emphasizes Edgar.
It’s the global reach of film editing that has brought us together this morning. After almost 20 years with CinemaEditor magazine, Edgar is stepping down from his role at the helm to focus more fully as an ACE ambassador to film editors and their organizations around the globe.
In 2003, with permission from the Board of Directors, he co-founded the ACE International Relations Committee with Michael Ornstein, ACE. They are now in conversation with editors in over 15 countries including: the U.K., Argentina, Ireland, The Netherlands, Germany, Denmark, Norway, Sweden, Belgium, France, Austria, Israel, South Africa, Canada and Australia. “It’s taking more and more time, but I’m delighted at the network we’re building.
Editors in every time zone share the same obstacles, aspirations and enthusiasms.” Edgar’s still working fulltime cutting feature documentaries so, as all film editors know, the hours have to be budgeted carefully. “Growing up in Holland I speak four languages and love to travel, so the international outreach is a natural fit for me.”
Edgar plans to continue to contribute to the magazine and encourage film editors from around the world to do so as well. “Our magazine’s in great hands. The team includes the Zakharys – Luci as our art director and inspired graphics designer and her husband, Peter, as our magazine and events photographer are amazing. And Peter has raised the bar involving advertisers, allowing the magazine to keep growing. Adrian Pennington in London
is our international editor, a beat that’s also blossoming. Carolyn Giardina is a top-notch journalist in the media industry and we’re lucky to have her expertise as our editorial consultant.”
Harry B. Miller III, ACE, and Andrew Seklir, ACE, continue to provide support on our Advisory Board and our membership and Board of Directors are very engaged. Currently, CinemaEditor publishes four issues a year – our annual Eddie Awards issue, the Television issue focused on the Emmys®, our Oscar® issue and our Summer Movie issue.
“There’s an appetite for more. With the inspired guidance of our ACE Executive Director, Jenni McCormick, and the excitement of EditFest, Invisible Art/ Visible Artists, the Eddie Awards – the con- versation around film editing is booming. The industry and the viewing public are seeing filmmaking from the point of view of the cutting room, where it all comes together.
Film editing is the only art form unique to motion pictures. Without it, there is no movie. The young innovators want to ‘disrupt’ but they can only do it effectively after they have mastered all the building blocks, all the beats.
As more and more people get their hands on tools and learn to communicate with pictures in motion, there’s an insatiable hunger to learn how we, the professionals, do it. We are the tastemakers. Storytelling. It’s the master craft.”