1986. National Video Center. NYC.

By 1986, I’d worked with co-directors Peter Kagan & Paula Greif on a few music videos, including Dream Academy’s “This World” and “Love Parade.” These grainy, dreamy, impressionistic videos were changing the MTV landscape. Most music videos at that time were bright, Pop-style linear storytelling. Steve Winwood’s “Higher Love” was going to be different.

Peter and Paula did most of their off-line edits with an editor named Laura Israel. Laura would cut on 3/4-inch videotape with window time-code. No list. I would lay d…Continue Reading


1989. National Video Center. NYC.

Phil Joanou set up a meeting to discuss the opening title sequence for his upcoming film “State Of Grace,” starring Sean Penn, Gary Oldham and Ed Harris. He’d been working with a film design firm, and was dissatisfied with the work they were doing. He’d started working on videotape while editing U2′s “Rattle & Hum,” and he’d heard through the grapevine that I was doing unconventional things in my edit suite. Phil had shot footage of the St. Patrick’s Day Parade; he wanted to deconstruct it and make it really moody to match …Continue Reading


1987. National Video Center. NYC.

Usually when I got a rush job to edit an ’80s music video, Rush was not involved. This was not one of those times.

Producer Stuart Samuels called sales exec Steve Ostrow to book me for 7 days straight. I’d have to be available 24 hours a day. Zbigniew Rybcznski, one of the hottest directors at the time, wanted the freedom of working around-the-clock on two music videos: one for Rush and one for Mr. Mister. He wanted to, as he put it, “Edit live.”

Rybcznski was know for his Oscar-winning short “Tango” and his supremely cool music video “Close…Continue Reading


1989. National Video Center. NYC.

I’d been working with NBC’s Tim Miller and his top producer, Don Duncan, for a few years. Don was super-talented and always oversaw the best projects. He also loved taking chances in the edit room. Like the time he used “Helter Skelter” by the Beatles for a series of promos for Tom Brokaw…without permission. When they told me we were going to do a music video for NBC News based on Billy Joel’s “We Didn’t Start The Fire,” I knew it would be fun.

Don intended do a “word by word” interpretation of the lyrics. H…Continue Reading


1992. National Video Center. NYC.







Yes it does exist. Vimeo has removed it at the request of the RIAA- the organization that polices U2′s work.

It seems silly to me. I seem to remember a certain member of U2′s organization telling me, when asked if we had the rights to the broadcast TV footage we using for the ZOOTV concert, “Its ok. we’re stealing from the thieves.”

In the meantime enjoy the spoof of the video below.

“Rattle & Hum” director Phil Joanou called and said he was coming to NYC after being on U2’s “Actung Baby” tour for 2 weeks…Continue Reading


1988. National Video Center. NYC.

Pam Thomas from MTV called. She and Peter Lauer had been asked to re-edit a music video for Rob Base & DJ E Z Rock that needed help. The footage was sub-standard and there was very little of it. Rather than re-shoot, the record company reached out to them to try and “save it in the edit.” Pam was the perfect person to call. She was/is an amazing creative. Adventurous and decisive.

I had been experimenting with the “Mitsubishi P60U,” a small B&W video printer that graphic artists were using to print out frames for story…Continue Reading


“3D BloKart”

2011. August 5. NYC.

Do you know what an Anaglyph is? How about “Swapping eyes?” I do. I just spent a week learning about 3D HD. And BloKarting.  Bill Price shot 3D HD footage of BloKarts in the Mojave desert to promote the “2012 BloKart World Championships” in California. I volunteered to edit the 2 and a half minute promotional piece. BloKarting is like sailing except it’s on dry land with wheels. Editing 3D is like regular editing except I had to wear those silly paper glasses over my eyeglasses. Which sometimes made me dizzy. I wanted to do an aggressive, …Continue Reading


“Connect The Dots”

1986. National Video Center. NYC. Lynda and Ellen Kahn of “Twin Art” asked me to help them put together an animated sequence for the upcoming new show “Pee Wee’s Playhouse.” In the sequence “Connect The Dots,” Pee Wee Herman jumps into his “Magic Screen” and tosses up colored dots that connect and construct a farm tractor for him to play with. Pee Wee had been shot on green screen on 16mm film and transferred to one-inch tape. Twin Art prepared the graphic elements on a Quantel Paintbox, the standard at the time. (Photoshop, …Continue Reading


We saw “Friends With Benefits” last weekend. Tigers can relate. Not with having sex with your best friend, necessarily, but with flying back and forth from New York to L.A. again and again and again. We may not always find romance, but our air miles are off the hook.


99 Tigers are scattered—in NYC, Venice, Boston, Dallas, and the In-N-Out Burger on Radford in North Hollywood.

But this week, amazingly, we’re all in NYC. Glenn just wrapped shoots for Bravo’s “Most Eligible: Dallas” and CMT’s “Texas Women” in Texas. David just wrote a rack of “Family Guy” and “Conan” SPGs for TBS. Bill just dropped some “Actuality” bombs on truTV. And Brett just cut a slammin’ Carmelo Anthony tape for MSG.

So now we’re thirsty and hanging at the glamorous Bridges Bar in the New York Hilton lobby.

Yep, that’s us. Waving at you with sparkly drinks and nodding at the…Continue Reading