Dylan Tichenor

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Dylan Tichenor (born June 1968 ) is an American film editor . He received a Satellite Award for his work on Brokeback Mountain (2005) . Tichenor has worked with director Paul Thomas Anderson several times .

Life

Dylan Tichenor began watching films with his father at an early age and handling cine footage. In 1986 he graduated from Philadelphia's Central High School in Philadelphia , Pennsylvania .

Tichenor began his film business in 1991 working for City of Hope by John Sayles . He then worked for a period of five years, primarily as assistant to the film editor Geraldine Peroni , from whom he learned to edit. Peroni was one of the permanent staff of director Robert Altman . The films that Tichenor worked on under her include: a. The Player (1992) and Short Cuts (1994). What Tichenor appreciated most about Robert Altman was that he was not afraid to give even inexperienced but motivated talents a chance to produce a film.

From 1995 on, Tichenor worked as an independent editor. After smaller jobs, 1997 saw the editing of Boogie Nights Tichenor's first major, independent work for the big screen. He received a Satellite Award for this film cut . Tichenor had previously worked with director Paul Thomas Anderson on his debut Last Exit Reno (also 1997) as the post-production coordinator. In Magnolia (1999), Anderson's next film, Tichenor was not only editor but also co-producer. In addition to a few music videos, the previous collaboration between the two of them extends to the hit film There Will Be Blood from 2007. Tichenor's cut of this film, which has been rated as first-class, but also bulky, was nominated for an Oscar in 2008.

Tichenor's first major success, however, was in 2005 as co-editor of the cowboy romance Brokeback Mountain by Ang Lee . The occasion of his participation in the project was sad: His mentor Geraldine Peroni had already begun the editing of the film, when she suddenly 2004 suicide committed. Tichenor took her place in film production. According to his own statements, he endeavored to follow Peroni's work as seamlessly as possible and found the faithful continuation of her work to be a valuable process of tribute to her.

Dylan Tichenor is a member of the American Cinema Editors (ACE), the association of American editors. Since 2008, Tichenor has also been a member of the Academy of Motion Picture Arts and Sciences (AMPAS), which is best known for the annual presentation of the Academy Awards or Oscars .

Work style

Dylan Tichenor says he values ​​it when filmmakers (like Robert Altman, Ang Lee, and Paul Thomas Anderson) can tell stories. He sees this in contrast to a more effect-seeking aesthetic, in which a setting is only chosen based on the momentary effect on the audience. With the ability to tell stories, Tichenor combines the director's ability to take a clear standpoint in the film in order to maintain a continuous point of view and thus a narrative style of the story. Accordingly, when editing the film, Tichenor claims to be looking for “true moments” when things come together and the ideas of the film find their resonance.

Filmography (selection)

Awards and nominations (selection)

Academy Awards ( Oscar )

British Academy Film Awards

  • 2006 nomination for best film editing: Brokeback Mountain , together with Geraldine Peroni

Satellite Awards

Web links

Individual evidence

  1. ^ Dylan Tichenor on radaris.com (English), accessed December 4, 2004
  2. ↑ a b Interview with Tichenor from December 2005 , website accessed on June 21, 2010
  3. ↑ alumni list on alumnihighschool.net , accessed June 21, 2011
  4. ^ Dylan Tichenor music videos on Internet Movie Database , accessed June 21, 2011
  5. ↑ Interview with Tichenor from December 2005 , website accessed June 21, 2010. ( The first month was really difficult, seeing the work she'd done, all her selections and knowing her thinking behind it. Soon, it got to be cathartic and good to spend this time with her— I found myself thinking about her all the time through this process and it was a gift to me in that way. I think that our two styles complement each other's. I don't think you'll be able to discern which cuts are hers and which are mine. )
  6. ↑ List of members of the American Cinema Editors in (English) , accessed on October 19, 2018.
  7. ↑ Interview with Tichenor from December 2005 , website accessed on June 21, 2010 ( It's very rewarding to work with someone who is clear on telling a story. There are a lot of filmmakers who don't really know how to tell a story - they know how to make a pretty shot or slam you in your seat with a big music cue, but that doesn't have much to do with storytelling. One thing I come away with having worked with these guys, the common denominator is that they all know or have different ways of keeping on point in telling a story by having a point of view. It can be literally a character's POV or a general cohesiveness to the tone and approach in the storytelling. In film, that's an extremely important thing and it's really difficult to keep track of. - If I have a style or philosophy it's that I'm really drawn to true moments. I like to structure things so that there is a moment where things come together, where the ideas you're working on resonate. )
personal data
SURNAME Tichenor, Dylan
BRIEF DESCRIPTION American film editor
DATE OF BIRTH June 1968