3rd Qtr, 2019
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.
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
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