The instrument of choice. As an editor at the keys, you need a system that helps make every session a fine performance: The Grass ValleyGroup Editing System. Designed to take the best from your production system to the screen. Built to grow as you grow. So if you demand an instrument with capabilities equal to your own, there's only one choice: The Grass Valley Group Editing System. Grass Valley Grou-@

~'r'V""t'\lAt)"'l..IV \,IIJIIiI From the Editor used to be common agreement that twO things were certain for everyone _ death and taxes. Now you can't be certain IChange.of WHICHMy dictionarytaxes. rambles for approximately 700 words explaining what you can do with that single word, "change." you can run dailies late at night with a director, or habits can change, and the director can take a video cassette home for relaxed viewing after a 12 hour day. For easier viewing some editors are changing from the use of an 8 plate Kem to the use of tWO4 plate models interlocked together. A f¡\m editor works in a cutting room, but when the editing on the sarne show is changed to video tape, he or she is then working in an editing bay. Change is obvious in some (hings, such as more dialogue TV series going to video tape editing. Some change is not so obvious, such s as the faster delivery of difficult film optical because computer camera controls can prograrn so many things with the sarne pass

throughIf RiptheVanopticalWinklecamera.had been an editor before his "big sleep," one drowsy glance at a 1986cutting schedulewould snap him awake. Whether it's features or television, the unmistakable trend is that the editor is being allowed less time to do his or her work. Theret always seems to be time for the scheduling of more location sboo - ing, night shooting, second units, special effects, etc., but it's rare for editorial to get more time to do the extra work that has been editor created. The next issue of the }\meriean anem intends to query the feelings of members on this important issue. Changes can be beneficial. You're reading the neW American anemedito , and a lot of effort has gone into making this maga- zine morerimportant to our organization and to our industry. The response of our Board of Directors, our affiliates, our advertisers and our members has been encouraging. A reader of the }\menean aneIDemtor doesn't have to be a member of A.C.E. or be an editor. But if you, as a reader, can gain some small extra bit of knowledge about our craft. .' if yoU can gain a little more respect for the herculean tasks performed day in and day out by the people we mention ... if we can bring an occasional smile to your face as you peruse our pages ... then I think we are on the proper road to success.Let's bearY0ur comments. We welcome

them all.

SUMMER/FALL 1986 3 IF you're an incorrigible nit-picker when it comes to sync, you E.T.-THE EXTRA TERRESTRIAL· SILVERADO· know that a sprocket hole or two or three will make all the difference. YOUNG SHERLOCK HOLMES • THE BIG CHILL But why stop there? Why not insist upon the same uncompromising • BLUE CITY· OFF BEAT· THE FLAMINGO KID level of perfection in every element of your dialogue sound track? • THE OUTSIDERS· BO-LERO· SONG WRITER· ADR is all we do. From the first step to the very last. Voice-over FRANCES • TABLE FOR FIVE • WINDY CITY • casting from the smallest kid to the biggest crowd. The same painstak- ing attention to an actor's performance on the looping stage that was SWING SHIFT • EXORCIST • BUDDY, BUDDY • given on location. Perfect frame-by-frame synchroni- THE POSTMAN ALWAYS RINGS TWICE zation from the cutting room through dubbing. • THE BORDER· CANNERY ROW· How picky can you get? Why not telephone I OUGHT TO BE IN PICTURES • Norman Schwartz at Dialogue Services Inc. ZORRO, THE GAY BLADE • and find out. (213) 969-2606 CLASS· CAT PEOPLE

ADMINISTRATIVE OFFICES: 3599 CAHUENGA BOULEVARD, WEST· , CA 90068 Summer/Fall 1986 AMERICAN Vol. 36, NO.1 CINEMEDlTOR A Publication of the Honorary Professional Society - , Inc.

Features

The State Of The Editors Art 6 A Film Editor Enters The World of Video Editing 7 New Ideas, New Services in Film Labs

16 Eddie Award Nominees

18 36th Eddie Awards - A Gala Event

22 A. C. E. Seminar Salutes Gene Fowler, Jr.

Special Events 29 A.CE Holiday Party 33 ACEs Celebrate at Squadron Party

Departments

13 Letters to the Editor

24 Trim Bin Who's Doing What

26 In Memoriam

30 Scene And Heard

Editor Jack Dunning Covers The Social Scene Howard Kunin, A.CE Associate Editor Claire Schall 31 Good Olde Days Ed/tor/al Departments Bob Bring, A.CE Jack Dunning, A.CE 34 Index of Advertisers Peter Johnson, A.CE Graphics International Printing & Typesetting, Inc. Anne Goldstein Lew Marchese Larry Tozzi Photographers Claire Schall Warren Strang Publisher Denne Goldstein

The American Cinemeditor is sponsored by American Cinema Editors, Inc .. the honorary professional society of editors and is devoted to film and video tape editing and allied television and motion picture post-production. It does not necesarily reflect the offical policy of the society, and signed articles ex- press the views of lheir authors. Malerial may nol be reproduced or photoco- pied in any form without the written permission of the publisher. For permis- sion to reprint please contact this publication. Cover: Copyright ©1986, CE Publications Graphics - Lew Marchese Editorial and business matters of C.E. Publications should be addressed to: Disc - Pacific Video American Cinemeditor, P.O. Box 26082, Encino, CA 91426-2082 Photo - Howard Kunin SUMMER/FALL 1986 5 experienced film editors who might have lost their livelihood if the voices of doom A FILM EDITOR ENTERS had been correct about the Armageddon struggle between the worlds of tape and THE WORLD OF VIDEO EDITING film. After being trained in various tape systems, veteran film editor Fred Berger remarked, "It only takes two weeks to n1776Paul Revere galloped his horse the warning was heard - "The Button be trained and feel comfortable with the through the small township of Boston Pushers Are Coming! The Button Pushers new procedures, but it takes years to train Iand warned of the enemy's advance- Are Coming!" a good editor." "The British Are Coming! The British Now it's 1986. More and more TV In same situations, such as prime-time Are Coming!" shows and features are being edited on soap operas, there have been cases of cut- In 1966 Tessie O'Shea, the telephone tape, although image quality consider- backs from three film editors per hour operator on small Gloucester Island, gave ations of theaters and TV networks re- to two film editors who ·have been warning of the enemy's advance in the quire film negative originals. Just this retrained for a video system. On the other UA film of the same title- The Russi- last year Knots Landing went from film hand, Twilight Zone went through the ans Are Coming! The Russians Are editing to video tape editing, joining Fal- 1985-1986 season with four editors cut- Coming! con Crest, Twilight Zone, Cheers and ting video tape transferred from a 35 mm In 1963 an edit pulse was added to others. film negative original. There is a limit video tape; it was the beginning of elec- to the minimum number of editors on tronic editing. Prior to this achievement, Has Fine Editing Gone To Pots? a project. "No matter how fast one thinks editing video tape was difficult (see ac- Basically, most of the major studios the show can move past the editor's brains companying article, "Splicing Video Tape and important compa- and hands, there is always a slowing Was A Challenge"). However, with the nies that have converted shows to video process while we wait for the input of use of edit pulse, tape editing via machine tape editing have also retrained their film producers, directors, composers, sound, switching and transferring became the editors. Twentieth Century Fox Televi- dubbing and networks," said Matthew norm. Many editors in the small village sion, Lorimar, CBS Entertainment and Knox, head of television editing at of foresaw trouble. There MTM have found this to be the best ar- Lorimar. would be no creativity in electronic edit- rangement. Therefore, it's now common Important specials and mini-series that ing; lower paid engineers would throw practice for the button pushers, or switch have recently been edited on video tape, the editing switches at any old spot and throwers, or pot dialers to be the same such as Mussolini, also hired experienced film editors and provided editor training. This issue marks the beginning of what we hope will be a long running series of articles included The Early Entrepreneurs who set up in every issue of the American Cinemeditor. Our goal will be to enhance the knowledge of our independent facilities for video editors readers, in non-technical terms, about the latest developments affecting the decisions of editors and post-production executives. were surprised at the film industry per- ception of acceptable editorial working conditions. Emory Cohen, President of Pacific Video, was told, "Editors aren't ------used to and won't feelcomfortable in nice- ly decorated, clean, spacious rooms." Luckily, video editing rooms were built to better standards than the usual stu- dio versions. Comfortable chairs and large viewing monitors make many of these present day editing bays a "gentleman's lounge" and give the editor a chance to work on telling his story in a stimulat- ing environment. What more could an editor ask of his facility, except possi- Grass Valley Keyboard continued on page 12

6 AMERICAN CINEMEDITOR invites the editor into the proofing stage of the answer print. The editor sits with NEW IDEAS, the timer and participates in color and density judgments of one frame samples NEW SERVICES IN FILM LABS representing every cut in the picture. The editor's input is thus included in the an- swer print at a much earlier time in the itythis poor editor. He's two weeks things once considered impossible." De- schedule. late in turning over his finished veloping negativeand printing dailiesused Lab machinery has gotten faster and Pshow to the anxious sound editors, to be subject to unbending rules at major more efficient. Developers now work at the chain-smoking music composer and labs. Quite often the rule was that the 400-600 feet a minute and printers at 250 the nervous negative cutters. His assis- negative had to be received in the lab by to 300 feet a minute. Major labs now tant just eloped with his apprentice to liar 12p.m. If the exposednegativecame make a fùm print faster than a video tape an uninhabited South Seas island, and in later, dailies were not ready to view can be transferred from the same nega- they took the code book and lined script in the morning - and maybe not until very tive. "If the life of President Reagan de- as reading material. That means the most late in the afternoon. pended on it, I could walk a develop and important original records of the cutting Technicolor now promises dailies the print through our lab in 2Y2 hours," room are gone. And, as is quite common same morning if the negative arrives in remarked Rob Hummel of Technicolor. practice, no copies had been made of the the lab as late as 4 a.m. CF! has gone There is now a printer in use called the code book or lined script at this point on a 24 hour basis and will supply daily C.C.P. (continuous contact printer) which in the progress of editing. prints 6 hours after receiving the undeve- prints from a huge loop made of a fea- Marvelous thingsare happening in film loped negative, no matter what time the ture internegative. Enormous elevators laboratories these days. One of them, negative got in the lab. "More and more automatically supply the C.C.P. with raw Datakode, is capable of solving the editors are running dailies in the lab at stock on 6000 foot spools that go through problems of the hapless editor just men- 6 or 7 a.m.," said Bob Ross of CF!. this printer at the mind boggling speed tioned. This development of Eastman Some major labs have video tape trans- of 60 miles an hour. Kodak is a magnetic recording layer of fer capabilities at the same facility, giv- Super Techniscope or Super Panavi- metal oxide so thin that it's applied to ing the editor of video tape a chance of sion 35 is a relatively new format promi- the full frame on the base of the film. considerable time savings. One lab even continued on next page The layer is so transparent that the hu- man eye finds it invisible on the screen. Original negative is exposed normally o through the camera as a recording head o Various Projection Ratios imparts information such as slate, ex- r------35 mm Frame posure, time code, key numbers, or any- o o thing else that may be necessary. Every frame of negative,interpositiveor positive o o Ii print will subsequently have all this in- ~ formation. Books and records in the cut- ting room willbe considerably automated o O I~ '"o and everyframe of fùrn will be easilyiden- Œ tifiable, with or without the lined script o Ii or code book. A major studio test of u Datakode will take place shortly; an ar- I~ ticle reporting this test is scheduled for O o the next issue of the American einem- I Area Projected in Techniscope 2.40:1 editor. I Area Projected in 70 mm 2.2:1 "Film Laboratories are becoming more I Area Projected in 1.85:1 customer oriented," said Tony Bruno of Area Projected in TV 1.33:1 MOM Laboratories, "and are doing more Camera Aperture (Ansi Style C) 7 LABS lenses uses a lower focal length and in- the film of today is infinitely better than continued from page 7 creases the depth of field - in simple the film of 30 or 40 years ago. Film is nently displayed in the recent Columbia terms, a scene can be shot with less light now faster (allowing better night shooting picture, Silverado. In a spectacular set- and more area in focus. with less light), and film now has finer up impossible to achieve in other formats, However, the Super Techniscope or grain (giving a richer appearance to the the camera held focus on the back of a Super Panavision 35 format can be tricky image). group of riders moving to the edge of and expensive in post-production. A big "Video tape doesn't have the color satu- a cliff. As the horses stopped, the camera consideration is that internegative opti- ration or the color gradation of film and crane kept going over their shoulders and cals look more "dupey" than do 1.85 in- it will always be limited by frequency res- revealed a wagon train in the valley be- ternegative opticals. A & B opticals, de- trictions," noted John Shafer of Deluxe low. Everything-the riders, the valley, spite the greater cost, are considered to Laboratories. His comment refers to the the wagon train below, and even the be necessary. fact that the quality of the video tape im- clouds above-stayed in constant focus. Will modern technology make film and age is greatly affected by the frequency This format uses more of the 35 mm film laboratories obsolete? Profession- restrictions of recording and playback film width than does the 1.85 ratio now al movie cameras have gotten smaller and equipment running the tape. commonly used in theatrical features; con- lighter over the years. But the basic In dollar terms, the most important versely, it also uses less of the height of 35 mm camera still exposes film the way market to major labs is theatrical print the 35 mm frame. Spherical lenses, rather it did 30 or 40 years ago. Does that mean sales. Not too long ago, a 150-200 print than anamorphic lenses (the common it's just a matter of time for improved order was standard for a major release. wide screen lens that puts a squeezed im- video tape to take all important markets Now a 1500 print order is quite common. age on the film to be un squeezed in away from film and film laboratories? Could modern technology strike a crip- projection) are used for Super Techni- Not so. Technology is now concen- pling blow to the lab business by allow- scope. The same set-up with spherical trated more in the film than camera, and ing satellite transmission of a few theatri- cal prints to theaters all over the world? "It's difficult to blow up a large im- age on a theatrical screen from a video signal," remarked Jerrold Brandt, JI. of Source of Prime Time Network Programming Deluxe Laboratories. "The blue light in the transmission is the shortest in length and the hardest to reproduce. Moreover, the human eye is more discriminate on blue light." A set of statistics gives a clue to the continuing importance of film and film laboratories. Even though video tape has enjoyed a growing market in television, the accompanying graph shows that the percentage of prime time television originating on film actually has gone higher also. In other words, even though tape has been used more and more in net- work television, film has also been used more and more. Obviously there has to be a loser somewhere and that label falls on live programming. Technology has given present day film many times the information capacity of video tape. The resulting "fJ.1m" look from original film negative usage is still demanded on theatrical features, most multiple set prime time network televi- Graph shows the predominance of films as a source of network evening prime-time sion and most network product com- programming over the past 10 years. Each of the three networks broadcasts mercials. 22 hours of prime-time per week, making a total of 66 hours. Schedules for Labs are becoming more aware of the the coming Fall 1986 season show approximately 54 hours per week, or 82% of prime-time "on film." Included in the new season will be eight series using importance of the editor/lab relationship. multi-camera film techniques, compared to two in recent years. Editors should stay informed in this area and the American Cinemeditor intends to monitor lab developments and will report them as they occur.

8 AMERICAN CINEMEDITOR Our Congratulations to American Cinemeditor on its "new look"

THE WORKS

An Affiliate of Ltd. & Convergence Corporation

AN INVITATION TO A.CE MEMBERS: For a personal demonstration of the "new look" EditDroid™ in our North Hollywood office, please contact Ken Vas at 818/505-0044. EditDroid" is a trademark of Lucasfilm Ud.

Mix Magic is into Video

24 Track Audio Mixing / Video Sweetening, Mono and Stereo. Laydowns and Laybacks to your Master. Videotape Duplication, l"C to 3/4" or 112". Film-to-tape Transfers, with Time Code. Sound Pre-lays and Sound Effects Library.

* * *

Film Mixing (dubbing), Mono and Stereo Mix Magic Sound And Video Services

839 N Highland Ave .• Hollywood. 90038 • (213) 466-2442

SUMMER/FALL 1986 11 World of Video continued from page 6 puter revolution." Computers are chang- cessive scen-eson a Moviola or Kern. Grass ing the way much of our society lives and Valley (ISC), CMX and Laser Edit be- blya free lunch? In some places, that's works. long to this family of editing systems. also provided! Film or tape is not always a simple "With a linear system first cuts are eas- A Re·learning Process choice. Video tape editing equipment is ier," said editor Jay Scherberth at the Editors have had a long history of ad- very expensive per week, day, or hour. Laser Edit facility. "You have a unit or justing to technological change. This issue If an editor is expected to make exten- reel to examine or run the very moment contains an artiele about the A.C.E. semi- sive changes during the course of many you're finished cutting, just like a film nar honoring Gene Fowler, Jr. It describes runnings of the same show, it is proba- first cut work print." how in the early days editors cut film by bly more cost effective to edit on film. The linear systems make it easier to stretching the film out from the body and You might think schedules would au- go to work on the show quickly, since figured a reaction cut to be the length tomatically affect the choice, inasmuch there is no waiting by the editor for the of an arm straight out, or half bent, etc. as tape has a reputation for fast deliv- assistant to load the dailies. Some assis- Soon film viewers and Moviolas were in- ery. However, a panic delivery date is tants will mark the time coele of each scene troduced and some people resisted those not uncommon these days in film edit- in the lined script; it is not unusual for "film tearing machines." ing. Completion time of film optical ef- an editor to start work a half hour after Then came sound. Some editors fects and laboratory work has shrunk in the dailies have been sunk. wouldn't cut sound, making their assis- response to the need - same day film op- However, subsequent cuts on a linear tants add the optical sound later to the tical work and film dailies are not that system are not as fast or easy to accom- picture cuts. Next, magnetic sound started unusual anymore. plish as they would be on non-linear video to replace optical track. It was better on Linear or non-linear is the way all video editing. On linear systems each cutting the dubbing stage, cleaner to work with editing systems are classified. Linear sim- change must be made during the trans- and cheaper to transfer, but many ply means the picture and track cuts from fer to a new unit of tape in actual time. wouldn't "trust a track they couldn't see." the editing decisions are transferred or If a few changes are made in an hour In television we are seeing a signifi- assembled on the tape in a continuous show, the linear system requires a new cant change from editing shows on film line (hence called linear). The transfer tape transfer to be made for approximate- to editing them on tape. As Gary Blair, is made in the continuity in which the ly an hour. In addition, a film editor editor on Twilight Zone, explains, "Film editor worked-and that is the basic man- learning a linear system must constant- was a product of the industrial revolu- ner in which a film work print is assem- ly remind himself that scene and shot tion. Video tape is a product of the com- bled or built after an editor views suc- continued on page 14 YOUR SOURCE FOR VIDEO INTERLOCK, STANDARDS CONVERSION AND GRAPHICS!

L- 3220 West Burbank Boulevard Burbank. 91505 (818) 843-3633 ------' 12 AMERICAN CINEMEDITOR "Fix It In Post" was the topic of discussion at the Academy of TV Arts and Sciences' second annual all day seminar. The event held on May 10 at Glen Glenn Sound in Hollywood featured discussions on various aspects of the art and tech- nique of post-production. The seminar, chaired by Russ Tinsley, featured workshops conducted by Dan SEMINAR FOCUSES Carlin Jr., president of Segue Productions; Bruce Broughton, composer; Ed Richard, Consolidated Film; Cecilia Hall, president of Motion Picture Sound Editors; Jay ON POST·PRODUCI10N Wertz, United Media Inc.; and Terry Porter of Todd-AO/Glen Glenn Sound. An A.C.E. film on the basic principles of was also shown. Bob Bring, A.C.E. Board President, Rod Stevens, A.C.E., and David Rosen- bloom, A.C.E., were also involved in creating a successful event.

THE NEW TEAM AT

Dear Howard,

I'm wondering if the enclosed book- let (of the British Cinema Television Vete- rans) could give you some possible "copy" or maybe some ideas. The article con- cerning the Museum of Moving Image could be of interest to A.C.E. members visiting London. The Vets association here is very strong, do you have a similar association over CINEMA RESEARCH CORPORATION there for members of the entertainment industry? SALUTES If you haven't, maybe you should think about it, and we could possibly form some THE sort of international amalgamation. Love to hear your views. MEMBERS OF THE AMERICAN CINEMA EDITORS Kindest regards, Bill Lenny, A.C.E. (From London) DAVID ROSS MILLER Chairman of the Board BE AN Chief Executive Officer INFORMER We're proud of the American Cineme- MICHAEL MINKOW ditor staff, but they can't be everywhere President and know everything that is happening Chief Operations Officer in our post-production industry. The American Cinemeditor needs "informers" - people who will write or phone and give us the "tip" or "bit of news" that will lead to an interesting, in- formative story. CINEMA RESEARCH CORPORATION Our address is: 6860 Lexington Avenue Hollywood, California 90038 American Cinemeditor P.O. Box 26082 213-460-4111 Encino, CA 91426 (818) 907-7351

SUMMER/FALL 1986 13 World of Video at different times on the playback mo- There is no universal "best" system for continued trom page 12 nitors. It will appear that the tape was all types of material. Musical sequences numbers are not as important to the edited and played back, but it is just present a special consideration; believe retrieval function as the hours, minutes simulating the cut. it or not, there are even people who think and seconds of the time code. As mentioned before, the non-linear time codes drift enough from true sync Non-linear means the picture and track systems are a bit more cumbersome than to cause serious problems in anything but cuts are not recorded in sequence on the linear systems on the first cut. However, traditional film. If the material is to be video tape as you go. They are not record- the second and subsequent cuts are eas- edited on video tape, a non-linear sys- ed as picture and track cuts at all; just ier and quicker to achieve on non-linear tem is not as easy as a linear one. On editing decisions are saved as a file. The systems because the editor doesn't have a linear system you can roll multiple tracks system is always remembering what the to contend with constant re-recording of together, you can sync multiple machines editor wanted to do with the beginnings material that hasn't been touched. Edit- together and you can bump sync on every- and ends of the selected cuts. At a later Droid, Ediflex, Montage and CBS/Sony thing easily Gust recently, one non-linear time it will simulate the cuts by switch- belong to the non-linear family of video ing in pieces of video tapes of the dailies editing systems. Splicing Video Tape Was A Challenge SINCE 1927 Early video tape was physically cut and joined just like film is now ... but the CREATORS frame line was invisible to the eye. Edi- OF DISTINCTIVE IDEAS AND DESIGNS tors mixed an extremely fine iron pow- FOR SPECIAL PHOTOGRAPHIC EFFECTS der with a solvent; this liquid, called car- AND OPTICALS bonyl iron, was applied to the tape in FOR MOTION PICTURE AND TELEVISION. order to reveal a guard band (which acted like a frame line). TITLES • MOTION CONTROL GRAPHICS One problem was that the iron pow- MINIATURES • MATTE PAINTINGS der was so fine that it would get into the BLUE BACKING • INSERTS fabric of the editor's clothes and wouldn't SPECIAL UNIT PHOTOGRAPHY come out. A shirt was cleaned with a mag- COMPLETE VIDEO LAB net, not a washing machine. "Iron man" ONE INCH NETWORK AIR TRANSFERS editor wasn't necessarily slang for an edi- B & W TEMP DUPES '1:1 SOUND TRANSFERS tor who worked long hours. The "high technology" of iron pow- der was just the beginning of tape HOWARD A. problems. Each tape cut had to be made ANDERSON CO. by the editor, with a razor blade, within an area only 115000 of an inch wide. This cut had to be perfectly vertical to the tape surface and perfectly square to the edges of the tape. Glitches, whips and roll overs all could appear on the monitor if the razor cut wasn't made perfectly. It was like splitting the length of a human hair across the full width of the video tape ... t and all with the use of only a metal rul- , a razor blade and a set of strained human eyes. In time, a big improvement appeared. An expensive device called a Smith splicer allowed the editor to see the guard band or frame line through a microscope. However, the other problems of physi- cally cutting and splicing tape remained. Finally edit pulse arrived and tape edit- ing by transfer replaced splicing with razor blades. Art Schneider, A.C.E., remarked, "I took my expensive Smith splicer and used it as a door stopper!" 14 AMERICAN CINEMEDITOR system, Ediflex, has added the multiple roll feature). After the musical portion is finished on a linear system and the edit list is complete, it can even be loaded as a cut se- quence on a non-linear system, as if the finished sequence were a new load of dailies. The Economics of video tape editing are complex. The basic systems sell for around $200,000 each, but Ediflex only leases their system. Working materials can affect the cost considerably. A system capable of using discs (EditDroid, Laser Edit) can allowan editor to search to the end of 30 minutes of material (i.e. his current dailies) in only 2 seconds, while the same search on video tape will take 45 seconds to a minute. But that fast access has a price. A laser disc currently costs $150-$200and holds only 30 minutes of dailies. You need two or three of them for the system to function - and the discs are not re-usable at present. That disc cost represents 2 or 3 times the cost of tapes, so video choices must be a blend of the relative importance of speed, capacity and cost. A Film Editor's Familiar Surroundings have influenced the development of some of these systems. The EditDroid controls blend the film editor's familiar flat bed editing system and a sophisticated computer menu of choices. The Montage system uses some high tech engineering like digital picture images, but the editor "hangs" the cuts as though he were working out of a film cutting room "trim bin." The Ediflex system works off numbered lines of dialogue or pieces of action, just as the script supervisor might have numbered them for the editor. Even video and audio controls are marked as picture and track con- trols in order to be user friendly to the film editor. Soufld Enhancement of an editor's first cut is possible with some systems. Without ever leaving his room, the editor can make the first cut sound infinitely better by using the two track capabilities of the EditDroid, Grass Valley (ISC), Montage and Laser Edit systems. With a mixing board attached, these systems allow the editor to Contact: Roger Mayer at (2131558-5050 blend important sound effects, music, equalizing of back- or Tony Bruno at 558-5200 grounds and dialogue, etc. to make a running of his show more effective.

In the next issue of the American Cinemeditor, December, 1986, part II of this article will proceed onto video first cuts and allow The Lab of over 400 our readers to get more acquainted with the various systems. Customers including four Hollywood Major Motion Picture Distributors and many of the foremost Independent Producers

IX~fu Grou and Distributors c,j oS '"

SUMMER/FALL 1986 15 NOM

An Early Frost

Witness

Charlton Heston accepts award for 36th //Eddie" AltVards litter and glamour was the mood of the 36th A.C.E. Eddie Awards Gdinner March 15, 1986. In spite of torrential Southern California rains, a capacity crowd packed the Grand Ball- room of the Beverly Hilton Hotel. , feature presenter of the evening, got a roar of approval when introduced, remarking, "I was afraid you were going to mention Ten Command- ments, now I have to apologize for the weather." In his opening remarks Mr. Heston ac- knowledged his awareness of the impor- tance of fIlmeditors. "I have leamed from every editor who has allowed me into the cutting room. I have learned about act- ing, about directing, about writing, be- cause the cutting room is the final arena where the film is made." Mr. Heston presented the Eddie for

Do You Remember Love (left to right) Angel Tompkins, Barry Nye, A.C.E.

18 AMERICAN CINEMEDITOR (left to right) Martha Smith, Paul F. La Mas- tra, A.C.E.

Wallenberg: A Hero's Story

-A Gala Event best edited feature motion picture. Thorn Noble won the award for his work on Witness. The best edited television special category provided the most excitement and the biggest surprise of the evening. There was a three way tie for excellence this year and four jubilant editors gathered on stage for their awards. Winners were Jerrold L. Ludwig, AC.E., An Early Frost; MillieMoore, AC.E. and Maurie Beck, The Rape of Richard Beck; and David Rosenbloom, AC.E., Do You Remember Love. The documentary Eddie award was gar- nered by Barry Nye, AC.E., for The Land of the Tiger. John Matuszak, Robert P. Seppey Paul F. La Mastra, AC.E. was a dou- ble nominee in the category of best edited episode for a television mini-series. He (left to right) Glen Baumbach, student winner continued on page 20 Nia Peeples

California State University, Sacramento PHOTO BY SAM PARSONS

Land of the Tiger 19 Keynote speaker of the evening was Dynasty Executive Producer, Esther Shapiro. She spoke of her respect for the film editor's profession and her admi- ration of how they handle many impos- sible moments. Ted Lange of Love Boat was master of ceremonies,a job he handled with ease, wit and charm. Entertainment for the evening was provided by comedian Tyler Horn, and singer Pattie Brooks, backed up by Larry Wolf and his orchestra. Winning the Eddie award is the ulti-

Keynote speaker Performer Paula Kelly Ted Lange, Angel Tompkins mate goal of each nominee. But for those Esther Shapiro who attended this special event one thing is assured - each editor nominated for won for his work on Part II of Wallen- and track which they must edit for em- an Eddie had won the respect and valued berg: A Hero's Story. Mr. La Mastra's phasis on dramatic effects and pacing. recognition of his peers. acceptance remarks were peppered with The winner this year wasGien Baumbach, Claire Schall humor when he said, "I was suppose to a student at California State Sacramento. split my vote and lose." He added a more emotional tone when he declared, "I dedi- Angel Tompkins, cate this award to Mr. Wallenberg and Tyler Horn his ideals, and to the people he saved and to the memory of those he didn't." Best edited episode of a televisionseries was Robert Seppey's Haunted, an hour segment of St. Elsewhere. To encourage new talent and to expose novices to the actual working conditions of the film editing profession are two of the reasons that the American Cinema Editors began the tradition in 1973 of giving a best student editing award. The Singer and entertainer students are given actual copies of dailies Pattie Brooks

THANKS ARE o U E...

No event as successful as the 36th Amy Frank, Kevin Frank, and Circle Pictures, Howard Anderson Eddie Awards dinner occurs without Karen Gold - All served as "Ed- Company, Big Time Pictures, Can- the efforts of some very dedicated dy" assistants. non Films, C.F.I., Deluxe Laborato- people. The membership would like The officers and Board of Direc- ries, , Eastman to extend their appreciation to the tors of A.C.E. spent much time in Kodak, Gomillion Sound, Hollywood following: attending to many details and also Film company, Lorimar Productions, Chuck Montgomery - Dinner served as hosts and hostesses during MGM, Motion Picture Editors Guild Chairman the evening. Officers are Bob Bring, Local 776, MTM Productions, NBC GeorgiaMarcher - She did so many President; Eve Newman, Vice- Productions, Orion Television, Para- things there isn't space to men- President; Bernard Balmuth, Secre- mount Pictures, Pacific Title, Ryder tion them all. tary; and Ernest V. Milano, Treasurer. Sound, Aaron Spelling Productions, Boby Kimball- Blue Ribbon Panel Board members are Scott Eyler, Bob Todd AO/GIen GIenn Sound, Tri-Star Chairman Kimble, Fred Knudtson, Alan Marks, Productions, Technicolor Corporation, Alan Marks and Ernie Milano - Stu- Chuck Montgomery, Millie Moore, Twentieth Century Fox Features, dent Awards Co-chairmen and Peter Parasheles. Twentieth Century Fox Television, Bill O'Hara - Our own "Price Water- Many companies assisted A.C.E. Warner Brothers Television, Warner house," who overseed the bal- with their generosity. We would like Brothers Hollywood Studio Sound loting to acknowledge the support of ABC Department, and PBS Station WQED.

20 AMERICAN CINEMEDITOR / Thom Noble Continues Eddie/Oscar Tradition

Sixteen times over the past twenty-two 1964 - Howard Kress, A.C.E. 1976 - , A.C.E. years the winner of the Eddie award for How The West Was Won best film editing of a feature motion pic- 1965 - , ture has gone on to win the Oscar edit- 1977 - Scott Conrad, A.C.E., A.C.E. ing award given by the Academy of Mo- , A.C.E. Mary Poppins tion Picture Arts and Sciences. The Eddie award is a relative young- 1966 - Williams Reynolds, 1979 - , A.C.E. ster in comparison to the Oscar. In 1965 A.C.E. The Deerhunter Sound of Music the American Cinema Editors created the 1980 - Allan Heim, A.C.E. first Eddie to recognize film editors for 1967 - , A.C.E., All That Jazz outstanding achievement. Stuart Linder, Frank 1981 - , This year Thorn Noble, who won the Santillo, William A.C.E. Eddie award and the Oscar for his work Steinkamp on Witness, joins the ranks of talented Grand Prix film editors who have garnered both 1'982- Michael Kahn, A.C.E. 1969 - Frank P. Keller, A.C.E. coveted awards. The following is a list Bullet of those honorees: 1983 - 1971 - Hugh Fowler, A.C.E. Ghandi Patton 1986 - Thom Noble 1973 - , A.C.E. Witness Cabaret 1974 - William Reynolds, A.C.E. Sting

ASHFIELD FILM LAB 747 N. Seward Hollywood, CA 90038 (213) 462-3231 B&W REVERSAL PRINTS ONE TO ONE SOUND TRANSFERS FILM TO TAPE TRANSFERS

SUMMER/FALL 1986 21 A scene from the 20th Century-Fox Production, "The Ox-Bow Incident." A.C.E. Seminar Salutes Gene Fowler, Jr.

On November 6, 1985, in the main to edit pictures and track simultaneously. Jr. Allen would cut the picture and Gene theater of 20th Century Fox, an apprecia- As these assistants became more profi- would follow him and fit in the sound tive audience attended the A.C.E. seminar cient, many editors found it convenient track. Later Gene began making picture dealing with the work of a talented film to merely supervise the editing of their changes as he matched the track. maker whose career emphasis was film films. In the '30s and '40s many assis- Gene maintains that McNeil was the editing. The picture to be run was tants edited pictures and then had to fight The greatest projection room editor he has Ox Bow Incident, and the honored guest for the credit they deserved. ever known. He was able to identify the of the evening was Gene Fowler, Jr., the This was the case of guest speaker, exact spots that needed work and scenes editor of that film. Gene Fowler, J r. The eldest son of Gene that needed juxtaposition. But, as Al- Seminar chairman Bernie Balmuth dis- Fowler, famous newspaperman and writer len's energies and interest decreased, he closed little known historical facts about of Broadway plays, motion pictures, nov- could no longer physically handle the fl1m editing. He related how, in the early days els and biographies, Gene Jr. grew up and more and more of the actual edit- of cinema, directors and cutters edited in the company of his father's famous ing was turned over to Gene. film by eye only, without a viewer. When friends- William Faulkner, Jack Demp- Moviola-type viewers were first brought In 1943 Gene was again promised sey, Dorothy Parker, John Barrymore into the cutting rooms early in the 1920s, screen credit on a feature film at Fox. and W.C. Fields. many editors felt uncomfortable with He did not receive it and quit Fox in pro- them and continued to cut film by eye. Gene began his motion picture career test. Gene was now unemployed, mar- In the 1930s when sound was added in the early 1930s in editorial at Fox. Like ried and worried where he would find to motion pictures, some editors were un- many young people beginning their his next job. Unexpectedly, director Fritz able to adjust. They cut pictures and then careers, Gene served a one year appren- Lang called to ask if Gene might leave let the assistants add the sound. As as- ticeship without pay. He became an as- his "valuable" position at Fox in order sistants became more knowledgeable, they sistant and was soon editing pictures for to edit Lang's next film, Hangmen Also realized a need to make picture changes which he received no credit. Allen McNeil Die! From that moment Gene's career for smoother cutting. The next step was was the tutor and mentor of Gene Fowler, was established. 22 AMERICAN CINEMEDITOR Fowler's career credits are impressive McNeil, ran over to him, slapped him McNeil." The same can be said of Gene and extensive. His directorial credits on on the shoulder and exclaimed, "McNeil, Fowler, Jr. Through his work, his con- features include I Was a Teenage Were- you're a genius. We were trying to cut tributions to the field of film editing and wolf with Michael Landon and two films a reel out of this picture and no one had for his service to A.C.E., Gene Fowler starring Charles Bronson. His more than the guts to do what you did!" has earned the love and respect of all 100 television credits as a director include "Which will give you an idea," Gene his peers. Rawhide, and Perry Mason. concluded, "why we all loved Allen Carol Henning For the show Oregon Trail, he served as producer/writer and frIm editor. He wrote the screen play of My Brother, the Out- law, a Mickey Rooney feature. Gene was awarded an Emmy for his editorial work on The Blue Knight and he received an WESTHEIMER Company Emmy nomination for The GlassHouse. Seeds of Destiny, a documentary he edited, won an Academy Award. Another 736 Seward Street, Hollywood 90038 • 466-8271 documentary, Wallsof Fire, was awarded the Golden Globe and was nominated for an Oscar. Gene also received an Os- car nomination for co-editing Mad, Mad, Mad, Mad World. Gene was head of post- production of Lorimar for seven years. After viewing The Ox Bow Incident Gene addressed the seminar audience, remarking, "Well, I'm amazed that the picture didn't look quite the museum piece that I thought it would. There were some weak spots, namely the music, sometimes rather overpowering, but that's the way it was done in those days." As part of the seminar, Fowler relat- ed an anecdote of his early years as a film assistant. Allen McNeil was recutting a picture for Max Sennett and working-on 00 changes until the last minute. McNeil sent o, , the fùm to Pasadena for its sneak preview, only to discover that reel two was still on the shelf, unspliced. Grabbing it, he I~~I~ frantically spliced it and raced to Pasadena EDITORIAL FILM SUPPLY· SALES & RENTALS on a motorcycle, arriving as the crowd FOR YOUR MOTION PICTURE NEEDS was leaving the theater. Sennett saw FAST DWVERY i I • SYNCHRONIZERS • SPLICERS Zanuck's Trade • MOVIOLAS Becomes a Classic • REELS Gene Fowler and William Well- • CANS • SHIPPING SUPPLIES man shared an enthusiasm for the • TABLES property The Ox Bow Incident. • REWINDS Wellman told Darryl Zanuck that • STORAGE RACKS he'd like to make the picture. • FILM HANDLING SUPPLIES Zanuck said, "No it wouldn't be commercial; it isn't worth a damn!" Wellman persisted and Zanuck fi- nally offered to let the low budget The Ox Bow Incident be made if ~D Wellman would direct a high budg- et color picture called Thunderbirds. (818) 845-1755 from VALLEY While few remember Thunderbirds oD (213) 849-1148 from HWD. today, The Ox Bow Incident is still 135 N. VICTORY BLVD .• BURBANK, CA. 91502 viewed and considered a classic. n 23 SUMMER/FALL 1986 In an effort to better acquaint our readers with current creditsfor the ACE members, Bob Bring asks them ... WHAT PICTURE ARE YOU CURRENTLY EDITING? The following responses were received by the Trim deadline for this issue.

EDWARD ABROMS Director: PETER C. JOHNSON CHERRY 2000 Cast: Richard Pryor, Debbie Allen, FLAG Producers: Edward Pressman, Cotts Carmen Mc Crae Producers: David Jacobs, Bob Jacks, Chubb, Elliot Sheck For Stuart Sheslow Director: Steven De Jarnette "Richard Pryor's first time out Director: Bill Duke Cast: , David An- directing. A privilege for me, while Cast: Darren Mc Gavin, Moses drews, Ben Johnson being a strenuous and rewarding Gunn, Tom Isbell For Orion, editing at Lions Gate project. Sixteen months of work and "A 90 minute for Lorimar- "Futuristic western, set in the year now time for a rest." Telepictures, editing at MGM. " 2017. " SCOTT CONRAD DAVID BLANGSTED BEDROOM WINDOWS LEGAL EA GLES STINGRAY Producers: Robert Towne, Martha Producers: Joe Medjuck, Mike Producer: Stephen J. Cannell Schumacher Gross Directors: Various Director: Curtis Hanson Director: Cast: Nick Mancuso Cast: Steve Guttenberg, Elizabeth Mc Cast: Robert Redford, Debra Editing at Stephen J. Cannell Govern Winger, Daryl Hannah Productions in Hollywood For Embassy Pictures "We have the best editorial facilities Editing at Universal Studios in the industry." MICHAEL ELIOT FREDERIC L. KNUDTSON DEADLY FRIENDS BERNARD BRAHAM Producers: Robert Sherman, Pat Producers: Earl Hamner, Ernie JA WS OF THE GREAT WHITE Kelly SHARK Wallengren, Greg Strangis Director: Wes Craven Producer: Don Meier Directors: Harry Harris, Reza Badiyi Cast: "All Newcomers" Director: Don Meier and others For Warner Brothers Features For Don Meier Productions Wild Cast: , Robert Fox- "Teenage Frankenstein movie. The worth, Susan Sullivan, David Selby Kingdom first of it's kind. " "Experiments are conducted to see For Lorimar and CBS at CBS/MTM, what causes the great whites to at- using the Editflex video tape editing tack man. " Shot in Australia. PAUL HIRSCH system FERRIS BUELLER'S DAY OFF "Ensemble cast of good guys versus JOHN F. BURNETT Producers: John Hughes, Michael bad in the California wine country. WAR AND REMEMBERANCE Chinich, Tom Jacobson Shooting starts in early June in the Director: John Hughes Producers: , Barbara Napa area." Steele Cast: Matthew Broderick, Jeffrey Jones, Alan Ruck, Jennifer Grey Director: Dan Curtis HOWARD KUNIN For Paramount Cast: Sir , Jane Sey- DELIBERATE STRANGER mour and still casting "I have been making an instant, ana- log hard copy record of all edits as I Producer: Marvin Chomsky For ABC Circle Films Director: Marvin Chomsky work. It serves as a guide for the "Sequel to Winds of War. Largest Cast: Mark Harmon production ever made, 30 hour mini- negative cutters and can be screened and dubbed as is. " 4-hour mini-series for Lorimar and series directed entirely by Dan Curtis, NBC three years in the making. " "Just finished the true story of con- MICHAEL B. HOGGAN victed murderer Ted Bundy. We PARTY CAME made five different endings; network JO JO DANCER - YOUR LIFE IS "I will be editing this feature for used the one that described the U.S. CALLING Seymore Borde and Associates, in Supreme Court decision made the Producer: Richard Pryor June." same day of airing". 24 AMERICAN CINEMEDITOR Bin by Bob Bring, A.C.E.

PAUL LA MASTRA Cast: Jeff Daniels, Melanie Griffith SUSAN E. MORSE UNNATURAL CA USES For Orion Pictures, editing at Sound UNTITLED WOOD Y ALLEN Producer: Blue Andre One in FALL PROJECT '86 Director: "The wacky journey of a very con- Producer: Robert Greenhut Cast: John Ritter, Alfre Woodward servative corporation VP. who be- Director: Woody Allen For ITC Productions comes involved with a bizarre Cast: Mia Farrow, Dianne Wiest, "Picture explores after effects of seductress- who is nothing less than Julie Kavner, Michael Tucker, Josh Agent Orange spraying on veterans 'SOMETHING WILD'." Mastel returning from Viet Nam. " Editing at Manhattan Film Center

BILL LENNY CHUCK MONTGOMERY BARRY NYE SHAKA ZULU THE COLBYS AFRICAN NIGHT Producer: Ed Harper Producers: Aaron Spelling, Doug Producers: David and Carol Hughes Director: William C. Faurie Cramer, Esther Shapiro, Richard Directors: David and Carol Hughes Cast: Edward Fox, Robert Powell, Shapiro Editing at WQED, A National Geo- Trevor Howard Cast: Charlton Heston, Katharine graphic Special for PBS For Harmon Gold - Los Angeles, Ross "Shot over a period of 3 years, one edited in Johannesburg South Africa For Aaron Spelling Productions, and of the first wildlife documentaries to "Mini-series of 10 one-hour episodes ABC, editing at Warner Hollywood be filmed entirely at night. Airs in executive editor. " "Looks like another four years. " the spring of '87. "

JOHN MARTINELLI continued on page 26 THE BOSS' WIFE Producer: Tom Brodek Director: Ziggy Steinberg Cast: Martin Mull, Christopher Plummer, Melanie Myron, Daniel Stern, Lou Jacoby reD.B.sn Feature for Tri-Star

TONY MARTINELLI SCARFACE BLACK AND WHITE REVERSAL PRINTS Producers: Louis A. Stroller, Martin Bregman SOUND TRANSFERS Director: Brian De Palma Cast: Al Pacino, Michelle Pfeiffer, VIDEO TRANSFERS Robert Loggia, F. Murray Abraham FILM TO TAPE For network broadcast on ABC, at TAPE TO TAPE Universal City Studios "Eliminated some violence and naughty words." ...... CRAIG MC KAY For Your Convenience 24 Hour Service SOMETHING WILD ...... Producer: Jonathon Demme 6750 Santa Monica Blvd .• Hollywood, Calif. 90038 Director: Jonathon Demme (213) 463-5614

SUMMER/FALL 1 986 25 Trim Bin continued from page 25

DAVID ROSENBLOOM HARD COVER IN Producer: Carter De Haven Director: John Flynn Cast: James Woods, Brian Dennehy, MEMORIAM Victoria Tennant For Hemdale at Laird International.

ROD STEPHENS Frank B. Bracht a 1960 Emmy nomination for his work on Perry Mason, and in 1971 and 1972 WACO AND RHINEHART Frank Bracht, who died September 26, Producers: Jr., Lee he won the Eddie award for his work on 1985, had a long career in the motion Zlotoff, Richard Briggs Medical Center. picture business starting in 1928 in the Director: Chris Nyby Richard Cahoon is survived by his wife script department at Paramount. Cast: Charlie Hill, Bill Hootkins, Madeline. His feature editing credits included Bob Tzudiker White Christmas,Houseboat, Plaza Suite, 2 Hour/MOW Pilot for Walt Disney Hugh R. Chaloupka Damn Yankees, The Carpet Baggers and Pictures and ABC Molly McGuires. Hugh R. Chaloupka, who died Decem- "I came in as second editor to work Frank was nominated for the A.C.E. ber l, 1985, was a veteran of 40 years with Stan Allen at the last minute. It Eddie award for his editing on both Hud was hard, but creative work - on in motion picture and TV film editing. and The Odd Couple, the latter was also fi/m. I found I missed some of the He started his career as a messenger for nominated for the Oscar. In 1957 Frank features of video I've been used to Warner Brothers in 1940 and became a received the A.C.E. and Local Press Crit- for the last two years. " full editor in 1949. ics award for Funny Face. Hugh was a charter member of A.C.E. During Frank's active membership in and a two time Emmy winner for his work A.C.E., he served as a director for four on the series Naked City. He also won terms. NORMAN WALLERSTEIN an Eddie nomination in 1970 for his work MANHATTAN PROJECT on the TV series My World and Welcome "I am post production supervisor for Richard Cahoon To It. Some of his TV credits include: Gladden Entertainment. Manhattan Richard Cahoon, a past president of That Girl, , Ozzie and Harriet, Project is being produced and direct- A.C.E., had a long and prolific career M Squad and Walt Disney Presents. ed by Marshall Brickman, to be as a film editor. Dick, who died on Sep- Hugh R. Chaloupka is survived by his released by 20th Century Fox. " tember 19, 1985, will be remembered by wife, daughter, brother and two grand- his friends and peers as a man with great children. talent and a generous spirit. "He was a Richard C. Meyer JOHN "JACK" WHEELER gentleman and a credit to the industry, SPACE CAMP and I say this out of pride and admira- Richard C. Meyer, an A.C.E. mem- Executive Producer: Leonard Gold- tion for this man," said his long time ber and past member of the Board of berg, Producer: Walter Coblenz friend Jack Hively. Directors, died on July 19, 1985. Director: Harry Winner Dick's career goes back to the early Meyer was born in Frankfurt, Germa- Cast: Lea Thomson, Kate Capshaw, days of the motion picture industry. He ny, and he entered the film industry in Tom Skeritt was a member of an illustrious group of 1937 as a production assistant in Paris. For ABC Circle Films and a 20th fifteen editors who seemed to dominate His long career includes such feature Century release the early days of editing. He was a friend credits as The Wild Party, Seven Angry "Don't send your kids to baseball or and tutor to many present day film edi- Men, Anna Lucasta, Winning and football camp. Send them to Space tors. Dick was head of film editing for Capone. He received a British Academy Camp to be trained as young as- Columbia for many years and also Award for Butch Cassidy And The Sun- tronauts. Our group gets more than worked at Universal Studios. dance Kid. their tuition promises. A chance to During World War II, Richard Cahoon Richard also worked on such televi- sit on the real space shuttle Atlantis, served with distinction with the 162nd sion shows as The Jack Benny Show, The then they receive an unexpected, ex- Photographic Unit. He worked with Danny Thomas Hour, The Bold Ones, citing and at times terrifying trip to George Stevens' unit in England and and Police Story. Meyer received co- outer space. A wonderful music score France, and he ended his army career with producer credit for his work on The by John Williams accompanies the rank of Lieutenant Colonel. Castilian and Pyro. them. " After the war Dick returned to Holly- Richard Meyer is survived by his wife, wood and resumed his career. He received two daughters and a granddaughter. 26 AMERICAN CINEMEDITOR A.C.E. SOCIAL SPOTLIGHT SHINES

A large and enthusiastic group gathered to celebrate at the annual holiday party December 15th in the Hollywood Room of the Burbank Airport Hilton. Rita Roland, recent retiree, received a gold membership card. New active members Marsh Hendry and Robert C. Estrin received their mem- bership plaques. David Ross Miller of Cinema Research, a new affiliate mem- ber, received his A.C.E. membership plaque. Reviving an old tradition, Hollywood Film Company announced that it is once again going to present "Eddie" award win- ners with a Golden Scissors award for outstanding achievement in editing. Gold- en Scissors plaques will be awarded retro- actively to those winners who did not receive them after recent awards.

Lois and Bob Bring

(left to right) Walt Hannemann, Marilynne Wheeler, Jack Wheeler.

Elaine and Larry Strong Fran and Fred Berger

SUMMER/FALL 1986 29 SCENE AND HEARD

People and time can slip through the (left to right) Tom Leetch, Lucile Dmytryk, (left to right the couples are) Mr. and Mrs. Jer· cracks. We have an organization of over Michael Villegas, Julie Rocha, Mr. and Mrs. rold Brandt Jr., Mr. and Mrs. John Shafer, Mr. 250 members and affiliates that have won- Don Hall, Dee D'Orazio and Nadine Taylor and Mrs. Michael Crane derful wives, husbands, children, grand- children and we are not aware of them. systems, edit lister. There were CMX edit that you formerly had. Our people take great trips, run 10k's, controller and compatible discs, soft The party was terrific. The cocktail sail boats, buy new homes, paint pictures, scrubs ... something personal would be room was jammed with 500 people all have "cum laude" degrees, experience fas- nice. talking at once and enjoying each other's cinating personal lives and we know very Luckily the phone rang and my good company - better than the good old days. little about them. Who is working? Who friend Gary Bell invited me to join Robin, The first people I met were Gary Ger- has done something interesting? Fred and Joan Nolting, Bruce and Bonnie lich and his lovely Robin. "Are you a We ought to know each other better. Popjoy at the A.C.E. awards dinner. My housewife now Robin?" ... "No, Gary Howard Kunin, the new editor of Ameri- daughter Barbara brought me. She doesn't won't let me retire until he can." can Cinemeditor, initiated the idea for like me to drive at night. It's interesting Somebody gave me a hug. It was my a new column. He asked Bob Bring, how your kids take on the watchdog role favorite Fran Berger with her "grumpy" A.C.E. Board President, to suggest a writer, and so my friends, here I am. Bob might have thrown a dart at a couple of names, but columnist Jack Dunning is on the "Scene and Heard." At first nothing appeared on the blank paper in front of me. I've been out of it for eight years and the membership roster had some unfamiliar names. I picked up a 776 Newsletter; it mentioned (left to right) Fred Loy, Art Tostado, Mr. and Jack Hulen, Terry Roughtan electronic trim bins, digital multitrack Mrs. George Hutchison

Affiliate member Bill Conrad recently competo ed in professional car races in Italy.

(left to right) Lois Ludwig, Jerry Virnig, Jerrold L. Ludwig, A.C.E. 3D AMERICAN CINEMEDITOR Dood Dlde Days

In 1928 George Eastman and Thomas Edison had but one thought ... "can our editor save this film?"

ur copy editor has written this first caption for our nostalgic photo of the two great inventors. We will continue to run this shot in each issue as long Oas we have a new, clever caption. Help keep history alive. Send your caption for the next issue (you must include the word "editor" in your caption) to: American Cinemeditor P.O. Box 26082 Encino, CA 91426

that the cruise was terrific. We would like to congratulate Jacobus Rose on his new appointment as Sound Director of . Joe Silver, long time active A.C.E. member, announced his retirement. Hope you enjoy the easy living, Joe. Affiliate member Pete Silverman of Consolidated Film Industries, who has been a good

(left to right) Joe Silver in background, Ka- (left to right) John Shafer, Don Gentile, Shirley friend of editors for 51 years, is another ren Frank, Amy Frank, Simone Silver, Kevin Hubbard, Jennifer Feiner, Matthew Knox recent retiree. Both gentlemen will be Frank missed in the A.C.E. roster of mem- husband Fred. If you want to work stead- of talented offsprings, film editors have bership. ily just follow Fred around. He has a a long list: Bill Anderson, Michael An- Exciting news from affiliate member knack for long runs. For a quarter of derson, Peter Berger, Mike Berman, Kaja Bill Conrad. He called to let us know that a century he has worked on only four Fehr, Argyle Nelson and Dick Van Enger he competed in the thousand mile race shows: Gunsmoke, Death Valley Days, just to name a few. It would be nice to from Brecia, Italy, to Ferrera, to Rome Mash and Dallas. hear from the new generation. How many and back to Brecia. Conrad, who was When I got to my table, my hostess times are you offered this kind of P.R.? driving a Ferrari, finished ninth among Robin gave me a kiss. "Are you enjoy- As the ceremonies were progressing, the Americans. There was a total of fifty ing Gary's new Mercedes, Robin?" ... my mind drifted. I thought what a very teams competing. Bill shared the driv- "Who gets to use it! We came in my car special group editors are, and you can ing and navigating and had some tough tonight. After all, it's raining." help give the American Cinemeditor a competition, as there were many top name Rita Rowland was there looking rested. special "new look." Contribute some drivers entered in the race. Before return- "How's retirement Rita?"... Henry news. Let'·s hear from you. ing home, he relaxed and "just watched" looked up, "For richer or poorer, but I just recently heard from Howard An- the Grand Prix in Monte Carlo. not for lunch every day." derson, who returned from a Royal Prin- Remember to keep me informed. I SawFritz and Jan Steinkamp with sons cess Comet Cruise. The comet appeared, don't want my editor to cancel this Billand Carl. Also Pern Herring with son but only as a ball, unfortunately there column; then I'll be retired again. Craig. Some fine new talent. Speaking was no spectacular tail. Howard reported Jack Dunning

SUMMER/FALL 1986 31

PAST PRESIDENTS OFFICERS Francis D. Lyon 1951-1952 Fredrick Y. Smith 1953 Bob Bring William B. Murphy 1954 President Richard Cahoon 1955 Warren Low 1956 Eve Newman George Amy 1957-1959 Vice President Fredrick y. Smith 1960 Bernard Balmuth Fred W. Berger 1961 Secretary Leon Barsha 1962 Anthony Wollner 1963 Ernest V. Milano Gene Fowler, Jr. 1964-1965 Treasurer Folmar Blangsted 1966 William B. Murphy 1967 Folmar Blangsted 1967 DIRECTORS Stanley Frazen 1968-1969 Fredrick Y. Smith 1970-1971 Scott Eyler Thomas J. McCarthy 1972 Bob Kimble Axel R. Hubert 1973 Henry M. Berman 1974 Fred Knudtson Axel R. Hubert 1975-1976 Alan Marks John A. Martinelli 1977-1978 Bob Bring 1979-1981 Chuck Montgomery John A. Martinelli 1982 Millie Moore Robert (Toby) Brown 1983 Bob Bring 1984-1985 Peter Parasheles

ACE CREDO The objectives and purposes of the American Cinema Editors are to advance the art and science of the editing profession; to increase the entertainment value of motion pictures by atlaining artistic pre-eminence and scientific achievement in the creative art of editing; to bring into e/ose alliance those editors who deisre to advance the prestige and dignity of the editing profession. ACES Celebrate at Squadron Party High flying fun was the command for the A.C.E. Aero Squadron party. A.C.E. members gathered to welcome new active members: William Anderson, David L. Rosenbloom, H. and Don Zimmerman. Good conversation and fun were the highlights of the even- ing. The membership took time out to greet new affiliate If you can't find it here, members: Robert Rosenberg; Anthony G. Anderson and Gary you can't find it anywhere. E. Crandall of H. Anderson Company; James L. Conway, writer, producer, director for the Aaron Spelling Company; and Jacobus Rose, now Sound Director of Walt Disney Company. Recent retirees Samuel Beetley, Marjorie Fowler, Gene Fowler Jr., William Mosher and Norman R. "Stormy" Palmer were also honored during the festivities. MORE TO COME Everything in editing. The next issue of the Ameri· • A Film Editor Enters The can Cinemeditor includes: World of Electronic Editing- "The State Of The Editor's Art" Part 11 _p~Americ; • What's New In Film Optical Editing begins on the Effects: various systems Motion Control Faster Schedules - How can you Plastil' Reel Corpuratiun of America Weave Cprrection make the dates and still be 1:rt40 Webb Ave .. Nurth Hullywoud. CA 91605 • (818) 504-0400 65 mm optical units for proud of your work? • Nt'W Yurk • New Jersey· Chicagu • Hullywood sharper 35 mm images DON'T MISS IT!

SUMMER/FALL 1986 33 Index of Advertisers WILDLI FE FILM liBRARY Without the support of the following companies, the new American Cinem- editor could not have been possible. If you like our new "look," please let them know.

Ashfield Film Lab THE VIDEO HOUSE INC. wildlife library Christy's Editorial Film Supply 2nd-unit GARY GERO SCHOOL OF wildlife VIDEOTAPE EDITING Cinema Research, Inc. production (714) 830-7845 Conrad Film Duplicating Co. Course Schedule Dialogue Services, Inc. "PRO" Course The Droid Works Extensive 42-hour "Hands-On" Training Eastman Kodak Company 106W. Burbank Blvd., Burbank, CA 91502 Echo Film Services "EDIT PLUS" Designed to The Grass Valley Group, Inc. complement Howard A. Anderson Company Rqy CMX Training Intervideo Days / Evenings / Weekends MGM Laboratories, Inc. ==Mercer (818) 954-9559 Mix Magic Sound AND COMPANY and Video Services 201 N. Hollywood Way, Pacific Title & Art Studio (818) 840-8866 Suite 202 Pacific Video Inc. Titles & Optical Effects for Burbank, CA 91505 PRC of America Motion Pictures/Television Ray Mercer & Company Video House Westheimer Company Wildlife Film Library

AMERICAN CINEMEDITOR