In Memoriam

In Memoriam – Morton Fallick

Morton “Morty” Fallick, a versatile and pioneering film editor, director and producer died Wednesday April 22nd at the Motion Picture & Television Country Home in Woodland Hills, California, he was 86. Mr. Fallick was born in New York City on November 7, 1933 and grew up in the Bronx. He was the son of Marion, nee Haymes, and Robert Fallick, a film projectionist and sound engineer.

In his early 20’s Morton began his career in editorial at RKO Pathé working in animation. After honing his skills at a small commercial company, he started his own business in Manhattan, CineMetric, the first fully integrated production and post-production services company. Here, Mr. Fallick created commercial campaigns for Madison Avenue’s largest advertising agencies. He also directed and produced documentaries, government and corporate films, edited television pilots and series, and motion picture trailers.

As CineMetric grew rapidly and hired dozens of employees, Mr. Fallick mentored many newcomers eager to learn film editing. Oscar winner, Craig McKay, ACE, Oscar nominees Barry Malkin, ACE and Richard Marks, ACE and many others got their start at CineMetric and its subsidiaries.

After many years of producing and directing commercials for products like Coppertone, Pepsi, PanAm, Clairol and many more, Mr. Fallick left New York for California to focus on motion picture marketing. In California he created more trailers, directed behind the scenes and produced some of the earliest electronic press kits for legendary directors including, Steven Spielberg, Clint Eastwood, Barbara Streisand, and others.

In later years Mr. Fallick cut television shows including Moonlighting, South of Sunset and Capitol News. Next, he teamed with another film legend, graphic artist and title designer Saul Bass. Together they created title sequences for Martin Scorsese’s Cape Fear, Goodfellas & The Age of Innocence.

In retirement, Mr. Fallick and wife Marilyn moved to Palm Desert, CA. There, he continued his higher education completing an Associate Arts degree in Psychology at UC Riverside College of the Desert. Later, they moved back to Los Angeles to be closer to their children and grandchildren. Back in LA he participated in activities with the American Cinema Editors, (ACE) and taught aspiring editors at UCLA Extension.

Mr. Fallick was predeceased by his life-long love, Marilyn, nee Suchow, his wife of 46 years and his eldest son Jeffery. He is survived by three children and their spouses, Lawrence Jordan (Laura), Randi Denbesten (Steven), and Allison Mupas (Aidan). He is also survived by his sister Barbara Marks (the late Richard) and seven grandsons, Joshua Mupas, Spencer & Cooper Jordan, Kayden, Griffin & Mason Denbesten and Jett Miller, all whom he loved dearly and who cherished his humor, kindness, and wisdom. Morton would often recount how blessed he was for his wonderful wife, rewarding career and loving family.

Donations in Mr. Fallick’s memory can be made to the Motion Picture and Television Fund in Los Angeles, his home of the last six years. There will be a memorial ceremony in the future at Mount Sinai Memorial Park in Hollywood Hills CA.


In Memoriam – Barry Malkin, ACE


3rd Qtr, 2019


Barry Malkin, ACE – a frequent collaborator with Francis Ford Coppola who was Oscar®-nominated for The Godfather Part III and The Cotton Club – passed away on April 4 after a long illness. He was at his home in New York with his wife, Stephanie, and daughter, Sacha. He was 80.

Malkin was born in New York on Oct. 26, 1938. He grew up in Queens where he was acquainted with Coppola when they were teenagers. After graduating from Adelphi University he sought a career based on his love of films. This began in 1962 when he became an apprentice to Dede Allen, ACE, on Elia Kazan’s America America.

While working there he met Aram Avakian, who hired him as his assistant while edited Robert Rossen’s Lilith. Malkin’s first full editing credit was in television on The Patty Duke Show, and he also edited Avakian’s Cops and Robbers. Through Avakian, Barry became reacquainted with Coppola who then hired him to edit The Rain People.

He went on to collaborate with Coppola on 11 films including The Godfather: Part II, for which he earned a BAFTA® nomination. He then went on to earn Oscar nominations for The Godfather Part III, which he edited along with Walter Murch, ACE, and Lisa Fruchtman, ACE, and The Cotton Club, which he edited with Robert Q. Lovett, ACE.

Malkin also edited TV miniseries The Godfather Saga, for which he structured the first two films into the correct chronological order and included scenes that were not in the original films. On Apocalypse Now Malkin became an additional editor and was supervising editor when Coppola produced Hammett, directed by Wim Wenders. Malkin also edited Coppola’s Rumble Fish, The Rainmaker, Gardens of Stone and Peggy Sue Got Married.

Additional editing credits include Big for Penny Marshall, The Freshman for Andrew Bergman, Four Friends for Arthur Penn and Last Embrace for Jonathan Demme. On May 1, nearly 100 friends, family and former colleagues gathered for a celebration of Malkin’s life, which began with a poignant speech by Coppola, who shared stories from his and Malkin’s childhood in Queens, regaling guests with untold stories about the playground antics of two 14 year olds playing hoops in the neighborhood.

Said Coppola, “I think the evening after our preview of Godfather II, the over 120 changes I made on a finished movie were executed through the night by Barry Malkin, without code numbers, [and] was the most amazing demonstration of editorial skill that I have ever seen. Film going from room to room on the floor and into synchronizer machines since there were no code numbers on the mixed mag track, was actually impossible, but Barry did it.” He added, “Barry was a brilliant man of integrity with a tireless work ethic.

He was a boyhood friend who became my most trusted collaborator.” Dorian Harris, ACE, remembered Malkin
as, “…an ever-curious world traveler, voracious reader, passionate jazz enthusiast and true-blue Yankees fan.” In lieu of flowers donations may be made in Malkin’s name to the Southern Poverty Law Center or The Neediest Cases Fund-NY Times. –Jack Tucker, ACE

In Memoriam – Terry Rawlings, ACE


3rd Qtr, 2019


Terry Rawlings, ACE – whose collaborations with director Ridley Scott include classics Alien (1979) and Blade Runner (1982) – died on April 23. He was 85. With a career spanning from 1955 to 2005, he earned BAFTA® nominations for both Alien and Blade Runner.

He was also well-known for editing Chariots of Fire (1981), for which he was nominated for both an Academy Award® and BAFTA. Rawlings was born and educated in north London and entered the printing trade upon leaving school. Between 1951 and 1953 he was a radar operator in the RAF as part of post-War national military service.

After leaving the forces he joined Rank Screen Services at Pinewood Studios in 1955 as an assistant librarian despite professing to have no ambition to get into the film industry. The work did however gain him a union card and his career progressed when he was asked to assist on the sound of Town on Trial, starring John Mills, for director John Guillermin.

Over the next few years he gained experience assisting in the sound department on features including Stanley Donen’s Cary Grant- and Ingrid Bergman-starring Indiscreet (1958) and 1961 comedy Petticoat Pirates. His first lead role as a sound editor was on 1962’s prison-set comedy, The Pot Carriers. Arguably, Rawlings’ big break was dubbing sound for Bryan Forbes’ The L-Shaped Room in 1962. This critically-acclaimed hit was the forerunner of British independent ‘kitchen-sink’ dramas like Saturday Night and Sunday Morning which tackled controversial social issues (in this case pregnancy out of wedlock).

Rawlings’ first partnership with director Michael Winner was The Jokers in 1967 starring Michael Crawford and Oliver Reed. Together they made 11 pictures, with Rawlings responsible for sound editing on The Mechanic and Chato’s Land, two hard hitting American-set action films starring Charles Bronson.

His sound editing work in this period also included Bedazzled, starring comedy duo Peter Cook and Dudley Moore also for Donen; Isadora (1968) for Karel Reisz, the 1974 Robert Redford-starring version of The Great Gatsby and several pictures for director Ken Russell including Women in Love (1969), The Music Lovers (1971), The Devils (1971) and Lisztomania (the first Dolby stereo feature film, 1975).

He was also music editor on Russell’s screen version of The Who’s rock opera, Tommy (1975). After Winner trusted Rawlings to complete the picture edit of supernatural horror The Sentinel (1977), when the original editor dropped out, his career took a major change of direction into full film editing. That year he had already worked with Ridley Scott on sound editing his feature debut, The Duellists, and the director invited Rawlings back to edit Alien.

Released in 1979, the picture redefined both horror and science-fiction storytelling, entered cinema folklore and led to multiple sequels including David Fincher’s Alien 3 in 1992 which Rawlings was widely credited as saving in the edit. With Scott again on Blade Runner, Rawlings had to work away from the Warner Bros. lot and was credited only as supervising editor because he did not belong to an American film union.

Rawlings was never happy with the film’s voice-over narration or happy ending which were required by the studio and were removed along with reinstatement of unicorn footage to signify Deckard’s dreams in the Director’s Cut release in 1992.

He co-devised with director Colin Welland, the slow-motion opening and closing sequences of British sprinters run- ning barefoot along a beach to Vangelis’ score on Chariots of Fire and helped revive the James Bond franchise with Pierce Brosnan’s debut as the spy in GoldenEye (1995).

Other features of note which he edited included Legend, starring Tom Cruise, also for Scott; action films The Saint (1997), U.S. Marshals (1998), Entrapment (1999) and The Core (2003); the 1990 comedy, Bullseye! (1990), starring Roger Moore and Michael Caine; and musicals Yentl (1983) starring Barbra Streisand and The Phantom of the Opera (2004) for director Joel Schumacher, which was Rawlings last major credit.

Always modest about his significant achievements and talent, he received a total of five BAFTA award nominations – three for film editing and two sound – as well as its 2014 Special Award, and was honored with the ACE Career Achievement Award in 2006. In 1960, Rawlings married Louise Kirsop, a secretary at Elstree Studios. He is survived by his wife and their three sons, David, Robert and Simon. –Adrian Pennington

In Memoriam – Norman Hollyn


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 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.