Thelma Schoonmaker
Thelma Schoonmaker (born January 3, 1940) is an American film editor, best known for her collaboration over five decades with director Martin Scorsese. She is the recipient of numerous accolades, including three Academy Awards, two BAFTA Awards, and four ACE Eddie Awards. She has been honored with the British Film Institute Fellowship in 1997, the Golden Lion for Lifetime Achievement in 2014, and the BAFTA Fellowship in 2019. started working with Scorsese on his debut feature film, Who's That Knocking at My Door (1967), and has edited all of his films since Raging Bull (1980). She has received nine nominations for the Academy Award for Best Film Editing, winning three—for Raging Bull, The Aviator (2004), and The Departed (2006), both records. She has also been nominated eleven times for the BAFTA Award for Best Editing, winning for Raging Bull and Goodfellas (1990).
The Key to Reserva
as Self (uncredited)Finding an unfinished script written by Alfred Hitchcock, Martin Scorsese attempts to recreate...
Movie pageBad 25
as SelfSpike Lee pays tribute to Michael Jackson's Bad on the twenty-fifth anniversary of the epochal...
Movie pageCameraman: The Life and Work of Jack Cardiff
as Self – IntervieweeIn 2001 Jack Cardiff (1914-2009) became the first director of photography in the history of the...
Movie pageScorsese's GoodFellas
as SelfIn this produced by Brett Ratner new retrospective documentary we hear from cast members and...
Movie pageThe Making of 'Cape Fear'
as SelfA retrospective documentary on the making of Cape Fear (1991) and Cape Fear (1962).
Movie pageInnocence and Experience: The Making of 'The Age of Innocence'
as SelfA documentary about the making of director Martin Scorsese's 1993 film adaptation of Edith...
Movie pageThe Collaboration Of A Lifetime: Scorsese’s Epic The Irishman
as SelfJoin legendary director Martin Scorsese, and acting icons Robert De Niro, Joe Pesci, and Al...
Movie pageAt the Video Store
as SelfEqual parts personal essay, intense rumination, and playful satire, this movie laments the death...
Movie pageFilming for Your Life: Making ‘After Hours’
as SelfThe making of Martin Scorsese's cult film "After Hours" is discussed by the director himself,...
Movie pageMartin Scorsese's Journey Into Silence
as SelfA behind-the-scenes documentary on the making of Martin Scorsese's "Silence."
Movie pageGlorious Technicolor
as SelfThe history of color photography in motion pictures, in particular the Technicolor company's work.
Movie pageFilming for Your Life: Making After Hours
as Self - EditorA documentary about the making of Martin Scorsese's After Hours.
Movie pageEdge of Outside
as SelfAn hour-long documentary designed to celebrate the spirit of the independent filmmaker from D.W....
Movie pageThe Scorsese Machine
as SelfAmazing documentary shows rarely seen side of a master director. 1990 was a very good year for...
Movie pageRaging Bull: Inside the Ring
as SelfThe second part about the production of "Raging Bull."
Movie pageRaging Bull: Outside the Ring
as SelfThe third part about the production of "Raging Bull."
Movie pageRaging Bull: After the Fight
as SelfThe fourth and final installment about the production of "Raging Bull."
Movie pageThe Eye of the Beholder
as SelfA series of interviews about the film Peeping Tom (1960). It includes a rare interview with...
Movie pagePainting with Light
as SelfAn examination of the great advances in cinematography achieved by Jack Cardiff.
Movie pageVisions, Dreams and Magic: The Unmade Films of Michael Powell
as uncreditedDiscover the unrealised visions and passion projects of revered British filmmaker Michael...
Movie pageThelma Schoonmaker Powell on 'The Red Shoes'
as SelfInterview with director Michael Powell’s widow, editor Thelma Schoonmaker Powell, from the 2009...
Movie pageOptimism and Sheer Will
as SelfAn interview with Thelma Schoonmaker Powell about Powell and Pressburger's 1943 film THE LIFE...
Movie pageGetting Made: The Making of 'GoodFellas'
as SelfA documentary that presents a brief yet detailed account on the making of Martin Scorsese's...
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