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A Tribute to Verna Fields 04-01-1979

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A Tribute to Verna Fields 04-01-1979 A TRIBUTE TO - VERNA FIELDS AND R 0 B E R T E. G 0 T T S C H A L K DELTA KAPPA ALPHA presents A TRIBUTE TO VERNA FIELDS and R 0 B E R T E. G 0 T T S C H A L K PROGRAM ROBERT E. VERNA GOTTSCHALK FIELDS Speakers: Speakers: Dick Barlow Marjorie Fowler Bill Edwards Ben Maddow William Fraker Jack Couffer Conrad Hall Sid Solow Sydney Pollack Mel Sloan Owen Roizman Frank Stanley Panel Discussion: Ralph Woolsey Carl Borack Jeremy Kagan Jeannot Szwarc Rand Holston Moderator: David Bruskin SUNDAY APRIL 1, 1979 TOWN AND GOWN UNIVERSITY OF SOUTHERN CALIFORNIA In the past few years, film editor Verna Fields has pulled together such ' films as "What's Up Doc," "Paper Moon," and "Daisy Miller" for Peter Bogdanovich, "American Graffiti" for · George Lucas and "Sugarland Express" and "Jaws" for Steven ,Spielberg. , Today, as an executive cr"tive con­ sultant a~d vice-president, she is pulling things together . at Universal with equal dexterity. After 33 years as an independent with an Academy Award nomination as film editor for "Graffiti" and an Academy Award for her work on "Jaws," Fields has come into her own as one of Hollywood's most influential women. Verna Fields began her career as sound editor for Fritz Lang's "Woman In The Window" (1942). Initially beginning as an apprentice, she gained full editorial status after a dispute between Lang and editor Sam Fields, the man who would become her husband a few years later. Between 1946 and 1954, Fields directed her energies towards being a wife and mother of two sons. But after the untimely death of her husband, she returned to sound editing, for both movies and TV. Her television work included "The Whistler," "Sky King," "The Lone Ranger," and Death Valley Days." She also worked again with Fritz Lang for "While The City Sleeps" (I 956) and was sound effects editor for Anthony Mann's "El Cid" (1961), for which she won the Motion Picture Sound Editing Award. v E R N A Her first assignment as a visual editor was for Irving Lerner's "Studs Lonigan" (1960). After that she spent several years alternating between sound and picture cutting. She also formed her own company, directing and editing documentaries for the Office of Economic Opportunity and govern­ ment films on health and nutrition F L M 0 G R A P H Y until funds were cut. Her last sound editing job proved to be ''Targets" (1968) for Peter 1944 Belle of the Yukon asst. ed Casanova Brown asst. ed Bogdanovich. She also taught advanced The Woman in the Window asst. ed editing at the University of Southern 1945 Along Came Jones asst. ed California, where she had received a 1956 While the City Sleeps sounded Bachelor of Arts degree in Journalism 1958 Snowflre sounded in 1938. 1960 The Savage Eye sounded Studs Lonigan editor In the seventies, up until the time The Sword and the Dragon editor she obtained her executive post, 1961 El Cid snd. fx. ed Verna Fields edited several successful 1962 The Balcony snd. fx. ed films such as "Paper Moon," "Graffiti" 1963 An Affair of the Skin editor and "Jaws." Unlike most editors, she Cry of Battle sup. ed A Face in the Rain snd. fx. ed went on location with her directors. 1964 The Bus editor This allowed her, as she says, "to get 1966 Country Boy editor inside their heads." By being in Deathwatch editor con tant contact with the director, 1967 The Legend of the Boy and the Eagle editor he could understand what the director Search for the Evil One editor wa aiming for, what he wanted on Track of Thunder editor the reen which she could then 1968 Targets snd. fx. ed onvey thr ugh her editing. The Wild Racers editor A vi e-president of Universal, 1969 Medium Cool editor 1971 Point of Terror sup. ed Verna Field bridges the gap in com­ 1972 What's Up Doc? editor munication between executives and 1973 American Graffiti editor filmmaker being a good friend to Paper Moon editor b th. Every day I learn something 1974 Dai y Miller editor new he ay . 'It' a lot of hard The Sugarland Express editor w rk but I an't think of anything 1975 Jaw editor m r timulating or more fun. F E L D s ':'""'. ~ -- R 0 8 E R T E. Panavision, Incorporated was founded by Robert E. Gottschalk in the fall of 1953 for the purpose of manufacturing anamorphic projection lenses to use Jwith the recently developed Cinemascope process. The perfected lens soon becam\ the most popular in the world. At that time, MGM made their most expensive films in Cinemascope and came to Panavision in hopes that they could design a system for them on a non-exclusive basis. They developed Ultra-Panavision 70 which MGM first used on "Raintree Country". Concurrently, they developed a new lens design for 3Smm photography to compete with Cinemascope. It eliminated troublesome close-up distortion and the general lack of definition possessed by Cinemascope lenses. Next came the Super Panavision 70, which added new spherical lenses to the existing 70mm cameras. "West Side Story" was the first film to use Super Pana- vision. ,_ Not too long afterwards, Panavision came out with the first silent studio reflex· camera, called the Panavision Silent Reflex Camera, or PSR. Throughout the sixties, the popularity of Panavision's lenses and the PSR grew dramatically. In 1972, Gottschalk's company unveiled a camera that took the industry by surprise. The Panaflex camera was light enough to be comfortably carried by hand and yet serve all the functions of a studio camera plus. In the years since it was introduced, the Panaflex has undergone over 100 modifications which were made on all 100 Panaflex cameras, not just the latest ones. This assures the cameraman that he has gotten the state of the art. Some of Panavision's latest products include the Panaglide, a silent, body sus­ pended floating camera which used a "Panavised" Arriflex camera, and the Pana­ flex-X, which was made to be a second camera to the Panaflex. -,, 0 T T s c H A L K PANAVISION FIRSTS 1. Non Distorting 10. Studio Silent Anamorphic Lens Blimp Free Hand- Holdable 35mm 2. 65mm Handheld Camera (Panaflex) Camera 11. Digital Readout 3. Super Speed 35mm For Camera Camera Lenses Footage and FPS 4. Anamorphic Zoom 12. Illuminated Lens Ground Glass Markings 5. Crystal Controlled Camera Motor 13. Constant Color (Panaspeed) Temp Dimming Camera Light 6 .. Panavision Silent Reflex Camera-PSR 14. 3-Speed and Gyro Action 7. 200 Reflex Camera Lightweight Gear Shutter Head (Panahead) 8. Silent Portable 15. Silent, Body 120v, 60Hz Camera Suspended Float- Power Source ing Camera (Panaglide) Silent Zoom Motors ~ 1--- DELTA KAPPA ALPHA SPECIAL THANKS TO: Nat'l Honorary Cinema Fraternity Alpha Chapter Panavision Michael Piazzola Michelle Manning, President Universal Studios Sandra Willard, Vice-President Merrilee Griffin John Greg Pain, Treasurer Deborah Kavruck Robert Orenstein, Secretary Frank Wright Warner Communications DKA Banquet Committee Ralph Peterson Michelle Manning, Chairman Li II ian Wilson Adam J. Bezark Paramount Pictures Daniel Brauer Ralph Kamen David N. Bruskin Miriam Seitman Mark Fisher Columbia Ben Goldhagen Connie Roth Todd Grodnick Metro-Goldwyn-Mayer Karl Kotalik Ted Hatfield James Romero Qietrich Smith USCinema Tim Stansbury Althea Lange Mark Wilkinson Barbara Medeiros Sandra Willard Gordon Meyer Bret P. Wolcott Rita Wells Flowers by: Broadway Florist .
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