About Me


Hello, I’m Michael T. Capone and this is my site. Thanks for stopping by. That’s me up there, in a picture taken by my wife Amy, one snowy evening in Central Park back in 2005, just outside of one of Christo’s “gates.”

I’m a professional film and television editor based out of New York city, where I’ve been practicing my craft since the early nineties. Obsessed with storytelling of all kinds from an early age, I fervently pursued a career in entertainment by amassing an encyclopedic knowledge of the imaginary arts. Over the years I have seen stints as a writer, producer, actor, voice artist and director, but editing has always been my mainstay and I consider myself an expert in the field.

My background includes the dawn of the independent film era, and I was fortunate enough to study under two of it’s architects, Jim Klein and Julia Reichert.

This team had twice been nominated for Academy Awards, Best Documentary Feature in 1976 for “Union Maids” and then again in 1983 for “Seeing Red.” After watching the latter on PBS in high school, I learned that the duo were heading up Wright State University’s impressive film production program in Dayton, Ohio.

My time studying at WSU turned out to be an excellent experience and included cameos from Todd Haynes, who showed us a 16mm print of “Superstar,” Barbara Kopple, who screened a rough cut of “American Dream,” Alan Arkin, who conducted a two day acting seminar, John Waters, who screened “Cry Baby” and John Sayles who made two films in the area during this time, “Matewan” and “Eight Men Out,” utilizing many of WSU’s film students in some small capacity.

On completing my BFA in Motion Pictures Production, I went on to work directly with both my college mentors on separate projects. I apprenticed to Jim Klein as an editor on his documentary feature “Letter to the Next Generation,” which looked at the student population of Kent State University twenty years after the infamous shootings. This was a 16mm feature mind you, cut on a old three plate Steenbeck, before tape-to-tape was even commonly used. Simultaneously, I did an uncredited rewrite of Julia Reichert’s narrative feature “Emma & Elvis,” and subsequently ended up with a small acting role in the film. And there was still time to freelance for the local PBS affiliate as an independent producer for a small arts program.

I moved to New York in the fall of ’92, after four months on location in Cleveland, Ohio working as assistant to the producers, Ash R. Shah and Alan Schechter, who were supervising shooting “Double Dragon: The Movie.” This was only the second film made based on a video game, and even though it took place in post apocalyptic Los Angeles, it was shot in Cleveland because Alan Schechter had grown up there and wanted to utilize the narrow waterways of the “flats” to stage an elaborate boat chase. Working on this film was a real eye opener and a time I’ll never forget.

The very first job I landed in New York city, I ended up staying at for almost six years and that was at RAFIK Film & Video. This venerable film supply and dub house in the Village mostly serviced (and still does) NYU film students and frighteningly low budget producers of all stripes. It was here that I became a full time editor, using the Video Toaster to cut actor’s demo reels, grant proposals, student films, public access television, home movies and anything else that walked through the door. This was the most invaluable training ground of all.

A brief stint at the Lee Strasberg Theater & Film Institute followed. I was an assistant in the acting for film & television class, a position I took because they planned for me craft a documentary from the Strasberg’s huge archive. This, unfortunately, never came to pass.

I spent a short time working as an assistant editor for a couple of Animal Planet shows, basically teaching myself how to operate an Avid. From there I moved on to an advertising agency/independent production house in Hell’s Kitchen: Fountainhead. This one-stop-shop did everything from corporate meetings to national commercials and afforded me the opportunity to perfect my skills as a non-linear editor. When my time at Fountainhead came to a close, I landed a gig at CBS, became a freelancer and haven’t looked back since.

I am interested in projects of all kinds, but am attempting to focus on feature length narratives. I prize creative collaboration above all, bring passion and dedication to everything I do and truly love the craft of editing. Feel free to contact me at MTCAP@aol.com and thanks again for visiting.

Hope all is well,


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