ACE News (Home)

Alan Holzman, ACE Heritage Award

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4th Qtr, 2019

The Invisible Art, Visible Artists (IAVA) seminar has become one of ACE’s annual flagship events. The wildly-popular program takes place every year at Grauman’s Egyptian Theatre in Hollywood and offers a rare opportunity to hear that year’s Oscar®-nominated editors talk shop. Interestingly enough, the man behind it all – prolific editor/director Allan Holzman, ACE – conceived of the idea while recovering from the flu. “It was quite a beautiful story actually,” says Holzman.

“My favorite children’s book is Miss Rumphius, which I’ve read in my daughter’s third-grade class. It’s a story about a young girl who assists her grandfather in making paintings of the ships in a harbor. Her grandfather says to her, ‘I want you to do three things in life: Live by the ocean, travel the world and do something to make the world more beautiful.’ About 20 years ago, I came down with a nasty flu. I felt like I wouldn’t live another day. The first day I felt well enough to go outside, I took a walk and reminisced about that book. I thought, ‘I’ve traveled the world. I live by the ocean.

But what have I done to make the world a more beautiful place?’ IAVA would my contribution to the world.” He explains, “Have a seminar the day before the Academy Awards®. All the nominees have to be in town. Have it in the morning so it doesn’t conflict with any other event.

Make it free and open to the public. Make it so you wouldn’t have to see the movie to appreciate it, but have it be more about the artistic process: How do you work dailies? How do you work with the director? How do you cut a scene? How do you work with music? Everyone answers the same questions so you don’t have a moderator trying to psychoanalyze the movie.

You have a discussion about the creative process. That’s all I wanted to communicate: the creative experience of editing.” By the time IAVA got off the ground, Holzman had already been in the business for over two decades as one of the premier documentary editors in town. He had earned two Emmys® for his work on Steven Spielberg’s Survivors of the Holocaust and an Eddie Award for the critically-acclaimed Old Man River. Not bad for a Baltimore kid who developed a noticeable stutter early in childhood. His stutter became something that he learned to embrace rather than overcome or use as an excuse to fade into the background.

He chronicles his journey in an autobiographical documentary called C-C-Cut: Autobiography of a Stuttering F-F-Filmmaker. The self-proclaimed storytelling stutterer cut his filmmaking teeth in Roger Corman’s camp. He soon went on to direct and/or edit a number of B-movie gems like Forbidden World, Out of Control, and Crazy Mama.

Around the time he met his future wife, composer Susan Justin, he began to add documentaries to his roster. This pivot would offer Holzman a new playground for his creative storytelling abilities.

One of his hallmarks on all of his documentaries is the lack of narrator to drive the story along. “I don’t like using a narrator in movies,” admits Holzman. “I have often tried using the speaker saying the same thing in multiple settings. It makes it more of a feature film because it is unpredictable and emotional. You’re not telling the story in a conventional way. You’re tying it through characters and characters are told through story. It’s really a way to keep the stories going and you can jump time.

The great thing about telling history through characters is it becomes a circular way of discussion. You don’t have to catch people up to where you were. You’re constantly experiencing the depth of the story in one way or another. You’re communicating culture. You’re not communicating facts. You’re communicating an experience, and scenes are the key to keeping people engaged because you can’t lose them for a second when you don’t have a narrator. The pressure is really intense to hold your audience.

Music is your narrative guide. A song is about three minutes and so is a scene. If the composer is into song structure you really can develop a beginning, middle and end in a scene.” It’s this passion for storytelling that led him to become one of the driving forces behind ACE’s Heritage Brunch. The first incarnation took place at a yacht club in Los Angeles over a decade ago where editors were invited for food, drink and a little gab session in front of the camera.

Holzman realized there was a whole class of editors who were assistants during 1940s and ‘50s who were unable to find work in film after completing their eight years as assistant editors. The editors who had trained them were still alive, working, and few had retired.

However, there was work in television. This group became the first great TV editors on shows like I Love Lucy and Mission: Impossible. They conducted 33 half-hour interviews in one day. Holzman recalls, “It was a very fun event. I couldn’t have done that or IAVA without Jenni McCormick [Executive Director of ACE]. She’s an amazing advisor, organizer and totally devoted.”

Even after nearly 50 years in Hollywood, Holzman has yet to slow down. He shares, “Four decades ago, I wrote a book on the art of editing that is about to be published. I wanted to reveal the art behind B-movie editing. The book is called Celluloid Wars: Lessons Learned from Making the Movie “Battle Beyond the Stars.” It will be followed by part two on directing.

Both books are based on daily journals I kept while working for Roger Corman on that film and Forbidden World (aka Mutant). He’s also working on a new fourscreen installation based on Martin Luther King’s “I Have a Dream” speech for Columbia, and penning his own memoir eloquently titled The Storytelling Stutterer.

A Long Time Ago in a Cutting Room Far, Far Away

Book Discount for ACE Members and Friends:
www.chicagoreviewpress.com/LongTimeAgoinaCuttingRoom  

The Publishers have offered a 20% discount from 11/5/19 – 2/5/20.
Use the code ACE20 at checkout!

A Long Time Ago in a Cutting Room Far, Far Away provides a behind-the-scenes look at some of the most influential films of the last fifty years as seen through the eyes of Paul Hirsch, the Oscar-winning film editor who worked on such classics as George Lucas’s Star Wars and The Empire Strikes Back, Brian De Palma’s Carrie and Mission: Impossible, Herbert Ross’s Footloose and Steel Magnolias, John Hughes’s Ferris Bueller’s Day Off and Planes, Trains & Automobiles, Joel Schumacher’s Falling Down, and Taylor Hackford’s Ray.

Hirsch breaks down his career movie by movie, offering a riveting look at the decisions that went into creating some of cinema’s most iconic scenes. He also provides behind-the-scenes insight into casting, directing, and scoring and intimate portraits of directors, producers, composers, and stars. Part film school primer, part paean to legendary filmmakers and professionals, this funny and insightful book will entertain and inform aficionados and casual moviegoers alike.

Hollywood Kernel Panic

Last week there was a panic in the edit rooms from Los Angeles to Budapest. Apple computers running Avid Media Composer were getting an error message relating to a dongle, and upon restart the computers would not boot up.

This issue was solved. Google had pushes an automatic (and hidden) update to Chrome through its Google Chrome Keystone updater. The update was damaging the macOS file system, causing what’s called kernel panic. Here is Google’s explanation. https://support.google.com/chrome/thread/15235262?hl=en&fbclid=IwAR1AzJ-tvj5fYDLhF-nKek_tjWli3OW5XCGCArowY3EKJyGjOTKtIh9M-V0

This corruption only happens on macOS systems that did NOT have System Integrity Protection (SIP) running. SIP was added the Apple operating system starting with macOS 10.11 El Capitan.

Avid sent out an early email blast and Facebook post with a video of CEO Jeff Rosica explaining they knew of the problem and were immediately investigating.

It is not caused by Avid Media Composer. Nor is it caused by macOS. It is just that most Hollywood post uses Avid, mostly on Apple hardware, and some systems have SIP turned off. Certain older hardware can’t be installed with SIP turned on, because their drivers aren’t ‘signed’ or approved.

How do you know if you have the problem? There are three positive signs. 1) a VAR folder appears on the boot drive root, 2) an iLok error message appears, and 3) in the User Setting you are listed not as ‘Admin’ but as ‘Standard’. If you don’t have those three, and SIP is enabled, you are safe. After acknowledging that their update “may” have caused a problem, Google has pulled this update.

Do the following to make sure you are safe.

Test to see if your SIP is running. In the program Terminal, type the command: csrutil status  – then hit Return. If the response is ‘enabled’, your computer is safe. And you can turn wifi back on.

Then there are two files to delete, that prevent Google automatic updates.

In the Finder, hold down Option and click on the Go menu. Choose ‘Library’. Open the folder ‘LaunchAgents’. Delete the following files from this folder.

com.google.keystone.agent.plist
com.google.keystone.xpcservice.plist

And breathe easier.

Harry Miller, ACE
Editor Treadstone (and lots of other cool stuff)

ACE Tech Day 2019

ACE members and their Assistant Editors are invited to attend
ACE Tech Day – featuring ADOBE
Saturday, September 7th, 2019
9:30 am – 2:00 pm
Raleigh Studios, Charlie Chaplin Theatre
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Join Adobe’s Film and Television team as they share a special sneak preview of new advances in Shared Projects and collaborative editing, leveraging Artificial Intelligence to unlock creativity, and featuring a special guest speaker. It will be an informative and lively day! Full agenda to come…

ACE Tech Day is an on-going event designed to help keep ACE Members up-to-date and in touch with the latest tools, workflows and formats. It’s a continually changing landscape and ACE Tech Day is one way to help keep you prepared for whatever challenges are thrown your way on your next project.

This event is for ACE members, their assistants, and associates – attendance is free of charge.
Please RSVP to the ACE office

All guests must present a valid ID for access to Raleigh Studios. Light breakfast and lunch included.

Click here for parking info

 

In Memoriam – Norman Hollyn

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2nd Qtr, 2019

Norman Hollyn, ACE, was, as his beloved wife Janet Conn described him, “a renaissance man with vast intelligence, a huge heart who gave and received immeasurable pleasure from his life.”

He passed away on March 17, at the age of 66, from a coronary embolism and subsequent cardiac arrest after doing what was truly his calling: sharing his knowledge with students in Yokohama, Japan at Tokyo University of the Arts. His passion for teaching, editing and filmmaking played out in remarkable ways and had a seismic impact on many lives.

He was born in New York on May 11, 1952, and graduated from Stony Brook University with a degree in Theater Arts in 1974. That same year, the seeds of his career were planted when he landed in the cutting room as apprentice sound editor on Bob Fosse’s Lenny.

He subsequently worked on many other films that were directed by legends of that era – examples being: apprentice film editor on Sidney Lumet’s Network (1976), assistant music editor on Milos Forman’s Hair (1979), and then he hit his stride as a music editor on such films as Alan Parker’s Fame (1980), Alan Pakula’s Sophie’s Choice (1982), Francis Ford Coppola’s, The Cotton Club (1984) and was the music supervisor on Arthur Penn’s Four Friends (1981).

In 1985 he became a film editor on the Emmy® Award-winning television series, The Equalizer, and another Emmy-winning series, American Playhouse (1988), along with other television shows, including Oliver Stone’s miniseries Wild Palms (1993).

Norman also edited feature films, among them Heathers (1988), which became a cult classic. On his most recent feature, Shot (2017), he very effectively used split screens to show two intertwining plotlines, characteristically embracing the storytelling advantages of digital technology.

He moved to Los Angeles in 1990 and eight years later his esteemed career as a teacher began at USC’s School of Cinematic Arts. He became a tenured associate professor in 2005, a full professor in 2011, and was head of the editing track for over 12 years.

He was instrumental in changing the track from film to digital editing, as he continued to help his students hone the art and craft of storytelling. In 2013 Norman was also honored as the first recipient of the Michael Kahn Endowed Chair in Editing. Norman was a gifted communicator with endless energy.

He wrote nearly 100 articles in many magazines and peer-reviewed journals and two highly-influential books. The Film Editing Room Handbook: How to Manage the Near Chaos of the Cutting Room – published in 1984 and recently printed in a fourth edition – became pretty much a bible for novice filmmakers who were trying to navigate the world of editing.

Both nuts and bolts and conceptual, Norman’s book dealt with the art of collaboration and work politics, as well, and was written with his characteristic clarity, wisdom and humor. His second book, The Lean Forward Moment, published in 2008, which he called “a book about shaping stories across all filmmaking crafts,” was steeped with insights and strategies for recognizing and crafting compelling cinema and effective stories.

Norman did podcasts, online lectures, had his own blog and recently completed an online course at Lynda.com called “The Art of Editing,” which inaugurated their push into aesthetic classes. He had also lectured on storytelling in China, Jordan, Finland, Malaysia, Brazil, Israel, Astonia and Mexico and for companies such as DreamWorks, Pixar, ITV, Globo Television, Fortune, The Philadelphia Inquirer as well as for NATPE, and the Hollywood Black Film Festival.

He was President of the UFVA, the largest association of production-based cinema university professors, and was a member of ACE, Academy of Motion Picture Arts and Sciences and IATSE. Norman led many panels for NAB and for EditFest, the latter based on his “Lean Forward Moment,” where editors would choose favorite scenes that had inspired them, which engendered many lively discussions.

He had also led panels for numerous conferences around the issues of emerging media as well as AI. Norman had, in fact, described himself as “a media expert,” in reference to his experience in the old and new media worlds.

In the midst of listing many of these achievements for his bio in the EditFest program, he inserted the sentence: “He clearly specializes in run-on sentences.” How Norman, to show a healthy sense of pride and then such self-effacing humor.

The specifics of his accomplishments are impressive, but Norman’s influence is indescribable. It’s impossible to enumerate and explain the effect he had on virtually everyone he met and knew: how many students he mentored and continued to stay in touch with years after they graduated, how many careers he helped support and shape, how many people he encouraged when they were discouraged, uncertain or ignored. How many personal lives he enriched.

My friendship with Norman hit the ground running – which is not a unique statement in the Norman World – when we met at EditFest New York 10 years ago, the beginning of our moderating panels back to back every year at EditFest LA, as well. I immediately basked in his warmth and kindness and experienced his sense of fun, his towering presence, the unruly white hair, the sparkling eyes, that infectious laugh. He had this amazing ambidexterity: being totally focused on you and at the same time affectionately greeting and fully engaging with the stream of people who would inevitably flow to him.

As the years went by, I experienced what many have described: how he could just pick up on a conversational thread six months later, as if no time had passed. He had an extraordinary memory and follow-through and made everyone feel special.

At every EditFest and Eddie Awards, he was like the mayor, the grand greeter, the ultimate mensch, giving everyone a hug. He had unlimited ideas on how to connect people with each other to further their goals. “Good ideas come from everywhere,” he once said. And he always had good ideas. Ones stature was completely irrelevant. He would respond to everyone. In fact, I don’t think he ever said no. “Keep in touch” is an easy phrase that few people mean completely, but he meant it.

I would witness those same interactions at the Eddie Awards, and when I saw him this year at that ceremony. He was excited, like a big kid, talking about what he was going to do during his sabbatical from USC. He planned on writing two books for Oxford University Press: an updated edition of The Film Editing Room Handbook and a new version of The Lean Forward Moment, focusing on storytelling/filmmaking in other countries.

He conducted interviews with filmmakers in South Africa in February and had planned to continue this spring to interviewing filmmakers in the Czech Republic, Poland, Estonia and Bulgaria.

As he talked about his upcoming adventures, his wife Janet was, as usual, by his side. He always reintroduced her, acknowledging her as his better half. And she always had this serene smile and gave him the space to do his thing. They clearly had a lovely partnership and rich marriage. Janet described their having “endless conversations that naturally evolved about everything.”

She spoke of their daughter Elizabeth, as “the light of our life. The depth and breadth of her intelligence, her art, creativity, excellent friends put us in constant awe of her. We loved being together as a family, which also included our dogs Renton and Jasper (RIP). Family dinners at home, in restaurants, with Elizabeth and her friends and our friends.

We are fortunate to have a multi-generational life. We love our home so, so much. Brings back memories of Italy – having Aperol spritzers in the garden. Friendship, art, design, technology, travel, books, politics, great storytelling in film and TV all made the circle of our life. Our glasses were filled, as Norman once said, ‘We have a charmed life.’ We felt very grateful.”

When Janet wrote this description of their life together, she noted, “The tenses aren’t consistent. I still think of Norman in the present.” I think we all do. Not just because of the disbelief that he is gone, way too soon, but because we still feel him with us.

Those of us who were fortunate enough to read The Lean Forward Moment will, when watching movies, think of those key moments that pull you into the story and its characters and create an emotional response. Those of us who were fortunate enough to know Norman will always think of him as a positive force for others, endlessly giving, making a difference. Living a life of grace. Leaving a legacy of talent, camaraderie and joie de vivre. And bear hugs.

“You will never be forgotten” is a cliché but in this case, simply a fact. We will always love you, Norman. Thank you for all that you gave us.

Karen Schmeer Fellowship 2019

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2nd Qtr, 2019

The Karen Schmeer Film Editing Fellowship (KSFEF), now in its ninth year, is annually awarded to a new Fellow during the SXSW Film Festival Awards ceremony.

This year’s Fellow, Victoria Chalk, is a British-Chinese film editor whose career in post-production has spanned more than a decade, several countries and garnered numerous accolades.

“Growing up British/Malay in rural France forced me to see things differently. I have lived a life of constant adaptation, bridging the gap between cultures and social norms” says Chalk.

“Struggling to learn a new language in my early teens made me realize how difficult it is to express oneself when conscious of translating. As I became fluent in French, I would joke about having two different personas, since I wouldn’t express myself the same way in English as in French. I wouldn’t have the same go to expressions, the same sense of humor, the same vocabulary, and this fascinated me.

This is what first drew me to editing. There are endless possibilities to the artistry of expressing emotion, plot, pacing and storytelling.”

Chalk’s latest feature documentary, Call Her Ganda, which tells the story of a transgender Filipina woman who was brutally murdered and left in a motel room in the Philippines, premiered at the 2018 Tribeca Film Festival and was the winner of the Los Angeles Asian Pacific Film Festival Grand Jury Award.

The film’s director and Chalk’s longtime collaborator, PJ Raval, who gave a keynote at SXSW this year, remarked, “Victoria’s ability to empathize enables her to view the footage through the subject’s own perspective, avoiding the pitfalls of extractive filmmaking or reducing our subjects to
victims or ‘others’.”

Sponsored annually by ACE, the KSFEF was established to develop an emerging documentary film editor by offering opportunities for creative growth and professional community building.

The Fellowship pays tribute to the legacy of Karen Schmeer, ACE, who edited projects including the Academy Award®winning The Fog of War in addition to the controversial Mr. Death and the IFC series, First Person.

Schmeer died in 2010 when she was struck by a car in a hit-and-run accident. This year, the Fellowship launched a new initiative called the “Diversity in the Edit Room” program with 29 mentees selected in this inaugural year.

It’s designed to cultivate the careers of emerging assistant editors and editors from diverse backgrounds and experiences working in the documentary field. Garret Savage, KSFEF founding board member and diversity committee co-chair, says, “We’d like to acknowledge American Cinema Editors’ Diversity Mentorship Program, headed by Troy Takaki (ACE) and Mark Yoshikawa (ACE), as an inspiration and model for ours and thank Troy and Mark for their guidance.”

Of the many benefits the KSFEF bestows on a Fellow, Chalk is most looking forward to learning from her appointed mentors who include Victor Livingston (The Queen of Versailles, Crumb), Azin Samari (The September Issue, Ethel), and previous KSFEF recipient Lindsay Utz (American Factory, Quest).

Says Chalk, “The Karen Schmeer Fellowship will allow me to grow in experience, confidence and communication in profound ways. The mentorship and support it provides is like nothing else. The community offered through this fellowship is also a way for me to help my own communities thrive.”

Chalk hopes to harness what she can from this experience to inspire other emerging editors from diverse and marginalized backgrounds, sharing her resources and what she learns with them. “I truly believe that the organizing I do with the Asian American Documentary Network (A-DOC), shines a spotlight on the lack of access and opportunities we have as a community of people of color. If I can add to the resources and bring something back to filmmakers in that space, I will,” says Chalk.

Chalk’s next feature documentary,  A Woman’s Work: The NFL’s Cheerleader Problem, directed by Yu Gu, will premiere at the 2019 Tribeca Film Festival where half of this year’s competition lineup were directed or co-directed by women.

ACE is a proud sponsor of the KSFEF and through the program, Chalk receives associate membership in ACE as well as admission to EditFest in Los Angeles.

ACE International Affiliate Member Category

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2nd Qtr, 2019

Following the ACE Board’s unanimous decision to adopt the new membership category of ACE International Affiliate Member, the hard work for the International Relations Committee began. We realized that you can’t just apply the same rules for prospective international members as we use for the general category of affiliate membership.

Like the ACE membership committee that interviews and recommends new members to the ACE Board of Directors, a similar procedure needs to be established for international members. In order to do this the International Relations Committee needs to recruit active ACE members who also believe in the global expansion of ACE. (Hint, hint!)

Since Hollywood and Los Angeles are still the central hub for the motion picture industry a lot of members and leaders of our international sister organizations have professional links here.
We’ve met many of them to discuss our plans and their thoughts about how we could and should work together. We’ve met with the principals of our Australian, Canadian and Dutch sister organizations. And recently, Isaac Itzik, president of the Israeli Editors Guild, visited Los Angeles. We discussed many things during our 90-minute meeting but the main topic was how the ascent of streaming services like Netflix, Amazon and Apple would impact our work and the industry as a whole.

Streaming shows in particular seem to vigorously transcend the traditional boundaries of national film industry standards, not only with international distribution but also investment in productions in motion picture markets like Israel. They seem to recognize that national content is not limited to the borders of a particular country. The international success of Bollywood productions is also made possible because there are large expat Indian communities in countries all around the world.

The Nigerian Nollywood productions serve a large swath of the African continent and you can imagine the revenue from untapped markets of the Mandarin language and culture will expand. Itzik says that with the interest of Netflix in the small Israeli market, its industry has started to realize that there might be additional markets for Israeli motion pictures for the small and big screen if you consider the Jewish diaspora around the world.

Original Israeli series are already available on Netflix in the U.S. and although Netflix is very secretive about viewership numbers, the fact that they put it up on their roster indicates that there is interest. Itzik feels that these developments make it especially important to join hands with ACE so we can work together to keep the editors’ creative integrity in the spotlight. An alliance with ACE also is important for him to improve the standing of editors in Israel as an important creative force in the production process.

Too often directors and producers think that editors are merely operators of the editing computers. He pointed out that there’s now the credit, ‘director of editing,’ like there’s the director of photography and camera operator on the set. When we unite globally and exchange our experiences we can work together toward elevating how editors are looked upon as an important creative force in the motion picture production and post-production process.

We also need to find out what the special needs are for our new international members and how we can explore, accommodate and create new venues here and maybe abroad that can cater to these needs. We’ve got a very exciting time ahead of us and we’ll work hard to make this global expansion a successful one with the help of our foreign sisters and brothers. The respect that editors deserve for their creative endeavors is a global issue that we need to face together.

Letter From the Editor – 2nd Qtr 2019

 

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2nd Qtr, 2019

There’s a cool, early-morning breeze off the ocean carrying with it the aroma of woodsmoke and orange blossoms. I’m with CinemaEditor magazine Editor in Chief Edgar Burcksen, ACE, who has just finished a 25-mile ride down the coast on his Cannondale Supersix bike with Velo Club LaGrange. We’re sitting outside Peet’s Coffee on 14th and Montana in Santa Monica.

“I love California. When I left Amsterdam, I came first to Marin County and worked with George Lucas on the EditDroid for a couple of years. The Bay Area film world is all about post-production and it’s a supportive, knowable community. A good transition from Europe. Then on to L.A.

It was by then the early 1990s.” “What brought you to American Cinema Editors and our magazine?” “In Holland, I was part of a group of experimental filmmakers who had an avantgarde magazine, SKRIEN. We learned that
we make different kinds of aesthetic connections in the cutting room and in print.  I value exploring aesthetics and storytelling through the written word as well as with images on the screen in the camaraderie of a like-minded group of artists.

That’s ACE for me. I was invited to join ACE in 1998 and became Editor in Chief of CinemaEditor in 2001 after an article I wrote on the psychology of working in the cutting room garnered some attention.” Edgar took over from Chris Cooke, ACE, who had worked with the magazine in transition after Jack Tucker, ACE, had spent years nurturing it from a small mimeographed member newsletter, getting it on its feet as a full-color glossy periodical.

“Our magazine gives film editors a voice. It advances every aspect of our mission statement at ACE. And now CinemaEditor has a global reach. It’s on newsstands around the world – the only periodical where post advertisers can connect directly with an international audience,” emphasizes Edgar.

It’s the global reach of film editing that has brought us together this morning. After almost 20 years with CinemaEditor magazine, Edgar is stepping down from his role at the helm to focus more fully as an ACE ambassador to film editors and their organizations around the globe.

In 2003, with permission from the Board of Directors, he co-founded the ACE International Relations Committee with Michael Ornstein, ACE. They are now in conversation with editors in over 15 countries including: the U.K., Argentina, Ireland, The Netherlands, Germany, Denmark, Norway, Sweden, Belgium, France, Austria, Israel, South Africa, Canada and Australia. “It’s taking more and more time, but I’m delighted at the network we’re building.

Editors in every time zone share the same obstacles, aspirations and enthusiasms.” Edgar’s still working fulltime cutting feature documentaries so, as all film editors know, the hours have to be budgeted carefully. “Growing up in Holland I speak four languages and love to travel, so the international outreach is a natural fit for me.”

Edgar plans to continue to contribute to the magazine and encourage film editors from around the world to do so as well. “Our magazine’s in great hands. The team includes the Zakharys – Luci as our art director and inspired graphics designer and her husband, Peter, as our magazine and events photographer are amazing. And Peter has raised the bar involving advertisers, allowing the magazine to keep growing. Adrian Pennington in London
is our international editor, a beat that’s also blossoming. Carolyn Giardina is a top-notch journalist in the media industry and we’re lucky to have her expertise as our editorial consultant.”

Harry B. Miller III, ACE, and Andrew Seklir, ACE, continue to provide support on our Advisory Board and our membership and Board of Directors are very engaged. Currently, CinemaEditor publishes four issues a year – our annual Eddie Awards issue, the Television issue focused on the Emmys®, our Oscar® issue and our Summer Movie issue.

“There’s an appetite for more. With the inspired guidance of our ACE Executive Director, Jenni McCormick, and the excitement of EditFest, Invisible Art/ Visible Artists, the Eddie Awards – the con- versation around film editing is booming. The industry and the viewing public are seeing filmmaking from the point of view of the cutting room, where it all comes together.

Film editing is the only art form unique to motion pictures. Without it, there is no movie. The young innovators want to ‘disrupt’ but they can only do it effectively after they have mastered all the building blocks, all the beats.

As more and more people get their hands on tools and learn to communicate with pictures in motion, there’s an insatiable hunger to learn how we, the professionals, do it. We are the tastemakers. Storytelling. It’s the master craft.”

In Memoriam – Barry Malkin, ACE

Barry Malkin, ACE   1938 – 2019

 

Barry Malkin passed away peacefully at home after a long illness. His wife Stephanie and daughter Sacha were by his side, surrounded by his books, music and cherished family photos. Honest, hardworking and humble, Barry was an ever-curious world traveler, voracious reader, passionate jazz enthusiast and true blue Yankees fan.

Born in New York City on October 26, 1938, Barry graduated from Adelphi University and followed his love of films resulting in a spectacular career in film editing spanning over four decades.

He was pre-deceased by his mother Helen and his father Richard Malkin who passed away at the age of 104.

After working as an apprentice to Dede Allen, Barry got his big break editing The Rain People for Francis Ford Coppola. A boyhood acquaintance of Coppola’s from Queens, Barry collaborated on eleven of Coppola’s films, notably creating The Godfather Saga for American television as well. It was a richly collaborative relationship and friendship that would endure for decades.

In 1974, Barry was nominated for the BAFTA Award for Best Editing for The Godfather: Part II. A decade later, Barry was nominated for the Academy Award for Best Film Editing for The Cotton Club followed by a second nomination in 1990 for his masterful editing of The Godfather Part III.

A memorial will be held at a later date. In lieu of flowers, the family kindly requests that you make a donation in Barry’s name to one of the following organizations:

Southern Poverty Law Center
The Neediest Cases Fund –
NY Times