So, that was my first opportunity to cut, and then for the next four years, I just bounced around as an assistant, trying to get an opportunity, cutting something here, getting a little half-credit there. It’s not as dynamic as present-day television, but it still held up story-wise and entertainment-wise. I haven’t seen it in 30 years and was delighted. So, I got my first credit on Star Trek: The Next Generation and was very proud of that. From MacGyver, I got hooked up with an editor who was going on to cut the pilot of Star Trek: The Next Generation, and they were using a system called Montage, and I learned that.Īlso, because it was non-linear, it was the beginning of cutting as an assistant and not affecting what your editor was doing, which prior to that on film was a much more complicated process for an assistant to get actual cutting experience. We worked on an EditFlex system, we worked on a number of systems that only were popular for a year or two, and then we learned a new system. Because of that, I got a lot of work because the few people who knew it got to work. So, it was the beginning of the wave of that as an assistant. They had big shows like Dallas and Knots Landing. Those shows, which had been shot on film and edited on film, got switched over to non-linear editing. Lorimar introduced non-linear editing to television. I got my start working for an old big production company, Lorimar, as an apprentice, and within a year I got an opportunity to be on a show called MacGyver and worked one season on that as an assistant. It’s so much a part of just getting the time in the seat.ĭEGRAFF: It certainly is. HULLFISH: Tell me about getting your feet wet and getting to know the craft better. That was the place that I more than got my feet wet and started really learning about what storytelling is. I’m very grateful for that opportunity to really hunker down on a high-quality show and work with really smart producers, directors, and writers and learn about our craft. I think every editor needs to be working regularly to really get going in terms of the craft itself. So, it was very exciting to be part of that show. This was when Law and Order was being nominated almost every year for best drama. Then, I did three or four episodes and got switched over to Law and Order. I was hired first to work on a show called New York Undercover, about a Black and a Puerto Rican undercover cop. The way I came to know about you was people that knew you at Dick Wolf Pictures.ĭEGRAFF: That was probably my actual beginning as an editor. Tell me a little bit about your career to start with. It’s probably more than that, but that’s what is on IMDB if you look through it. HULLFISH: I don’t have an exact count myself, but it’s close to a hundred. Do you know the number of episodes you’ve edited? Do you have a count yourself?ĭEGRAFF: No, I’ve never sat down and figured it out. I am so impressed at a huge number of series. HULLFISH: Your career is long and varied. He’s also cut episodes of Melrose Place, almost 30 episodes of Law and Order, Soul Food, Beauty and the Beast, Carnivale, Necessary Roughness, Daredevil, Designated Survivor, NARCOS Mexico, and most recently The Man in the High Castle.Įditor Monty DeGraff, ACE has helped to bring a host of well-known shows to your TV.Ĭheck out the Art of the Cut podcast to listen to this interview, and stay up to date on all the latest episodes. #Rip frameio tvMonty is a prolific TV editor who first moved to the editor’s chair for the legendary Star Trek: The Next Generation! Can data decode.Today we’re speaking with Monty DeGraff, ACE.
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