Cine Montaje Vol 08

A TEACHABLE MOMENT: BOUNCING BACK FROM THE BRINK
MONTAGE
MONTAGE
CINEMONTA
CINEMONTA GE
CINEMONTAGE
F F O OR R Y YO OU U R R C CO ON N S SI I D DE E R R A AT T I IO ON N
CINEMONTAGE / MOTION PICTURE EDITORS GUILD

VOL 8 NO 1 / Q1 2019 JOURNAL OF THE
JOURNAL MOTION
OF THE PICTURE
MOTION EDITORS
PICTURE GUILD
EDITORS GUILD
‘DUCKTALES’ / ‘CHILLING ADVENTURES OF SABRINA’ / KENNETH SHAPIRO / SUNDANCE EDITORS

MAGAZINE SPINE ARTWORK
Oscar’s Digital
Effects Master
Editors Make
Sundance Debuts
‘Chilling Adventures
@ViceMovie #ViceMovie
© 2018 ANNAPURNA©PICTURES, LLC.
2018 ANNAPURNA PICTURES, LLC.
All rights reserved. All rights reserved.
of Sabrina’
“AN ALMOST
“AN ALMOST EXPERIMENTAL
EXPERIMENTAL STYLE
STYLE OF
OF EDITING
EDITING
THAT CREATES
THAT AN
CREATES APOCALYPTIC
AN WHIRLWIND.
APOCALYPTIC WHIRLWIND.VICE
VICE FEELS
FEELS
PARTICULARLY
PARTICULARLY TIMELY
TIMELY WITH ITS
WITH THRUSTING
ITS SPIRIT
THRUSTING OFOF
SPIRIT MONTAGE ——
MONTAGE
HANK
HANK CORWIN’S
CORWIN’S DAREDEVIL
DAREDEVIL EDITING
EDITING
FEATURES WILD
FEATURES ANIMALS
WILD ROARING
ANIMALS OUT
ROARING OFOF
OUT FLASH
FLASHFRAMES
FRAMES
AND
ANDBLOOD POUNDING
BLOOD POUNDINGTHROUGH
THROUGH VEINS.
VEINS.
THE AUDIOVISUAL IRREVERENCE IS RADICAL.”
– JOSHUA ROTHKOPF,
Fowl Play: Editing Disney’s ‘DuckTales’

Q1 2019
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1:18 PM
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BEST BEST ORIGINAL BEST BEST SUPPORTING BEST BEST FOREIGN BEST PRODUCTION DESIGN BEST SOUND EDITING BEST SOUND MIXING
DIRECTOR SCREENPLAY ACTRESS ACTRESS CINEMATOGRAPHY LANGUAGE FILM Eugenio Caballero, Sergio Díaz, Skip Lievsay, CAS,
Alfonso Cuarón Alfonso Cuarón Yalitza Aparicio Marina de Tavira Alfonso Cuarón Bárbara Enríquez Skip Lievsay, CAS Craig Henighan, MPSE,
José Antonio García
“‘ROMA’ IS A MONUMENT TO THE POWER OF FILM

TO INSPIRE EMPATHY ACROSS THE
WALLS
WALLS OF
OF GEOGRAPHY,
GEOGRAPHY, CLASS
CLASS AND
AND CULTURE.
CULTURE.
Alfonso Cuarón’s personal tour de force deftly captures the emotional balance
of intimacy and opera – recalling the poetic power of Fellini and Buñuel
while creating a film of striking originality and vaulting ambition.
Emblazoned
Emblazoned in in memory
memory byby its
its hypnotic
hypnotic cinematography
cinematography andand bravura
bravura sound
sound design,
design,
with
with aa heart
heart that
that beats
beats from
from Yalitza
Yalitza Aparicio’s
Aparicio’s radiant
radiant humanity,
humanity,
‘ROMA’ is a work of art so powerful that audiences will feel transported
to a world they may have never visited, but have lived forever.”
CINE MONTAGE, IST LHP - REVISION 1

CONTENTS
XING
AS,
PSE,
rcía
COVER STORY
42 Duck Dynasty
Editing the Fowl Play of
Huey, Dewey, Louie and Company
by Debra Kaufman
Pictured: Barbara Ann Duffy, left,

Mike Williamson and Jasmine Bocz 42
portrait by Christopher Fragapane
FEATURES
28 The Sundance Kids

Three Editors and Their Films
Make Their Debuts in Park City
by Joseph Herman
34 Oscar’s Digital Effects Master

Technical Director Kenneth Shapiro
Works His Magic
by Laura Almo
50 Witch Doctors
Sabrina’s Sound Crew Casts Its Spell
28 by Mel Lambert
34 50
Clockwise from top: Clemency, photo by Eric Branco, courtesy of Sundance

Institute; Chilling Adventures of Sabrina’s supervising sound editor Edmond
J. Coblentz, left, and re-recording mixers Vicki Lemar and Ken Kobett; photo by 1
Martin Cohen; technical director Kenneth Shapiro, photo by Wm. Stetz.
On the Cover: DuckTales’ animation editors Barbara Ann Duffy, left, Mike Wil-
liamson and Jasmine Bocz, with characters Huey, left, Webby, Dewey and Louie.
Portrait by Christopher Fragapane. Characters ©Disney Enterprises, Inc.
Photo composite by Wm. Stetz.
Q1 2019 / CINEMONTAGE
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CONTENTS
DEPARTMENTS
5 Post Script – Tomm Carroll
6 President’s Message – Alan Heim, ACE
9 Getting Organized – Rob Callahan
14 Contractual Obligations –
Scott George & Paul Moore
68 Passages
18
69 In Memoriam
COLUMNS
17 Union Made
by Christopher Kroll
18 This Quarter in Film History

Riot in Cell Block 11 (1954)
by Edward Landler
25 25 My Most Memorable Film:
Tommy Vicari on
Road to Perdition (2002)
by Peter Tonguette
62 Cut/Print
Working in Hollywood:
How the Studio System Turned Creativity
into Labor
review by Betsy A. McLane
64 Labor Matters
64 Government Reopens But
New Shutdown Looms
compiled by Jeff Burman
72 Tail Pop
East of Eden (1955)
by Jack Tucker, ACE
TECH TIPS
57 Motion Capture for the Masses

iPi Soft Does Away with the MoCap Suit
by Joseph Herman
72
From top: Riot in Cell Block 11, Allied Artists Pictures/

Photofest; Road to Perdition, DreamWorks/Photofest,
Los Angeles Teachers Strike, photo by Richard
Vogel/Associated Press; East of Eden, Warner Bros./
Photofest.
CINEMONTAGE / Q1 2019

MOTION PICTURE
EDITORS GUILD
OFFICERS
President Alan Heim, ACE
Vice President F. Hudson Miller, MPSE
2nd Vice President Louis Bertini, MPSE
Secretary Diane Adler, ACE
Treasurer Rachel B. Igel
Sergeant-At-Arms Bill Elias
BOARD OF DIRECTORS
Editors
A.J. Catoline, Lisa Zeno Churgin, ACE;
Mary DeChambres, ACE; Dody Dorn, ACE;
Amy Duddleston, Dorian Harris, ACE; Maysie Hoy, ACE;
Nancy Richardson, ACE; Nancy Morrison, ACE;
Tatiana S. Riegel, ACE; Stephen Rivkin, ACE;
Molly Shock, ACE; Sidney Wolinsky, ACE
Assistant Editors
Shiran Carolyn Amir, Jason Brotman, Jeff Burman,
Margaret Guinee, Sharon Smith Holley, Scott A. Jacobs,
Rob Kraut, Aziza Ngozi, Sean Thompson
Lab Film/Video Technicians and Cinetechnicians
Frank Delgado, Jr.
Eastern Region
Rick Derby, Tom Fleischman, CAS; Carrie Puchkoff,
Alexa Zimmerman
We Congratulate
Eastern Region Alternates
Damian Begley, Chad Birmingham, David Rogow,
Mitsuko Alexandra Yabe
Sound Editors
Dave Barnaby, Stephanie Brown, Glenn T. Morgan, MPSE;
Jerry “Jerbear” Ross
T HE N O MI NE ES , H O N O R E ES & W I NNE R S O F
Music Editor Stephanie Lowry
Re-Recording Mixers
Lora Hirschberg, Frank Morrone, CAS, MPSE
Recordist Robert “Bubba” Nichols
Maintenance Engineer Joe Birkman
THE 69TH ANNUAL
Sound Service Person Aaron Morgan
Members at Large Alyson Dee Moore, Holly Sklar
National Executive Director Emeritus Ronald G. Kutak
REGIONAL OFFICES THE 66TH ANNUAL

Western Region
Local 700, IATSE
7715 Sunset Boulevard, Suite 200, Hollywood, CA 90046
Phone: 323.876.4770 or 800.705.8700
Fax: 323.876.0861
E-mail: mail@editorsguild.com
Website: www.editorsguild.com
Western Region Staff
National Executive Director Catherine A. Repola (ext. 0)
Western Executive Director Scott M. George (ext. 0)
Executive Administrator Lisa Berniker-Dosch (ext. 226)
Director of Mem. Services Shanda Zuniga (ext. 247) THE 55TH ANNUAL
Publications Director Tomm Carroll (ext. 222)
National Organizer Rob Callahan (ext. 245) CAS AWARDS
Organizer Preston Johnson (ext. 244)
Field Representative Jacky Olitsky (ext. 227)
Field Representative Ann Hadsell (ext. 231)
Field Representative Jessica Pratt (ext. 221) THE 91ST ANNUAL
Field Representative
Special Events Manager
Olie Amarillas (ext. 205)
Adriana Iglesias-Dietl (ext. 224)
ACADEMY AWARDS
Accounting Manager Meleney Humphrey (ext. 229)
Contract Administrator Fred Arteaga (ext. 243)
Contract Administrator Penny Barth (ext. 225)
Membership Coordinator Shawn Marchetti (ext. 230)
Membership Assistant Tracy Pacio (ext. 287)
Membership Assistant Jeff Nord (ext. 237)
Membership Assistant Yessie Gonzalez (ext. 0)
Administrative Assistant Willow Fortin (ext. 204)
Administrative Assistant Harolena Gaines (ext. 289)
Training Coordinator Dieter Rozek (ext. 246)
Eastern Region
145 Hudson, Suite 201, New York, NY 10013
Phone: 212.302.0700 Fax: 212.302.1091
Eastern Region Staff
3
Eastern Executive Director Paul G. Moore (ext. 207)
Field Representative Jennifer Madar (ext. 204)
Contract Administrator George Camarda (ext. 206) www.WBSound.com | www.MotionPictureImaging.com
Training Coordinator Muneeb Hassan (ext. 205)
Office Manager Sandra Fong-Ging (ext. 201) ©2019 Warner Bros. Entertainment Inc.
Local 700, International Alliance of Theatrical Stage Employees,

Moving Picture Technicians, Artists & Allied Crafts of the United
States & Canada, AFL-CIO, CLC
Representing the best post-production professionals in the world.
CineMontage_2019-Q1-4.indd 3 2/7/19 1:30 PM

CONTRIBUTORS
Betsy A. McLane (“Cut/Print”) Laura Almo (“Oscar’s Digital Wm. Stetz (“Oscar’s Digital
is the author of A New History of Effects Master”) is a writer and Effects Master” photography)
Documentary Film: Second Edition. documentary filmmaker. She is an award-winning director,
She served as the project director teaches video editing at El Cami- photographer and designer. He is
for the American Documentary no College in Torrance, California, currently working on a documen-
Showcase, and was the execu- and is a contributing editor at tary about the “trash rock” music
tive director of the International Documentary magazine. Contact scene in southern Germany. He
Documentary Association. her at lauraalmo@mac.com. can be reached at
betsy@documentarydiva.com. bill@wmstetz.com.
Debra Kaufman (“Duck Dy-
Edward Landler (“This Quarter nasty”) has been writing about Lauren Damaskinos (“The
in Film History”) is a filmmaker, film/TV technology and business Sundance Kids” photography)
media educator and film historian. for 25 years for publications is a commercial and editorial
He made I Build the Tower, the de- including The Hollywood Reporter, photographer based in New
finitive feature documentary on Variety and Wired. She also au- York City. She has photographed
the Watts Towers, and is currently thors the MobilizedTV.com blog. many famous faces, such as Tom
completing a cultural history of Reach her at dkla99@verizon.net. Hanks, Jackie Chan, Tyler Perry
film. He can be reached at and Whoopi Goldberg, and can
edlandler@roadrunner.com. Rob Callahan (“Getting Organized”) is the Motion be reached at
Picture Editors Guild’s National Organizer, based photography@laurendamaskinos.com.
in Los Angeles. He can be reached at rcallahan@
Mel Lambert (“Witch Doctors”) is
editorsguild.com.
intimately involved with produc- Christopher Fragapane (Cover
tion industries on both sides of Photo) lives in Venice, California
Jack Tucker, ACE (“Tail Pop”), is a
the Atlantic. He is a 30-year mem- with his wife and daughter. He
film editor with 54 years of experi-
ber of the UK’s National Union of has worked as a photographer for
ence. He is known for his work
Journalists and can be reached at nearly two decades in the enter-
on The Winds of War and Shogun.
mel.lambert@content-creators.com. tainment and advertising fields for
He currently teaches film editing
at Cal State University Long Beach national and international clients,
and can be reached at mrjcaesar@ and can be contacted at
Peter Tonguette (“My Most christopherfragapane@gmail.com.
aol.com.
Memorable Film”) is a freelance
writer whose work has appeared
in The New York Times, The Wall Jeff Burman (“Labor Matters”) Martin Cohen’s (“Witch Doctors”
Street Journal, Sight & Sound, Film represents assistant editors on the photography) photographs have
Comment and Cineaste. He can be Guild’s Board of Directors. He can been published internation-
reached at be reached at jeffrey.s.burman.57@ ally and exhibited in major cities
tonguetteauthor2@aol.com. gmail.com. around the world. He can be
contacted at
Christopher Kroll (“Union Made”) martincohenphotography@gmail.
is a picture editor who has cut com.
Joseph Herman (“The Sundance
feature-length dramas, comedies
Kids”) is a post-production
and action films, as well as half-
professional, filmmaker, animator
hour single-camera comedy and
and artist. His work has appeared
music videos. He is currently edit-
in films, commercials, promos
ing American Housewife for ABC
and music videos. He currently
and can be reached at
operates his own creative studio,
chriskroll5000@gmail.com.
Legend Multimedia (www.legendmultimedia.com),
and writes often about the industry. Reach him at
Scott George (“The Importance of Enforcement”) joe@legendmultimedia.com.
is the Editors Guild’s Western Executive Director.
Contact him at sgeorge@editorsguild.com. Paul Moore (“The Importance of Enforcement”)
is the Editors Guild’s Eastern Executive Director.
Contact him at pmoore@editorsguild.com.

CINEMONTAGE POST SCRIPT
Living Legacies
VOL 8 NO 1 / Q1 2019
Editor – Tomm Carroll

Art Director – Wm. Stetz/Stetz Design
Accountant – Meleney Humphrey
Proofreaders – David Bruskin, Bill Elias, Edward Landler by Tomm Carroll in a newspaper comic strip 82 years ago
COLUMNISTS
President’s Message – Alan Heim, ACE
Post Script – Tomm Carroll
H ere we are again at the height of
Awards Season, which culminates
Sunday, February 24 with the 91st Academy
this February. Technological changes
have transformed the work of animation
editing as well, as DuckTales editors
Getting Organized – Rob Callahan
Labor Matters – Jeff Burman Awards, the legacy awards show. Most Jasmine Bocz, Barbara Ann Duffy and Mike
Guild members will be watching the Williamson, along with assistant editor
CONTRIBUTING WRITERS
Laura Almo telecast at home or at Susan Odjakjian, explain
Scott George Oscar parties, aside from to writer Debra Kaufman
Joseph Herman
Debra Kaufman those lucky few who in this issue’s cover story.
Christopher Kroll received nominations Another character
Mel Lambert
Edward Landler in the Achievement in whose origins harken
Betsy A. McLane Film Editing, Sound back to the funnies is
Paul Moore
Peter Tonguette Editing and Sound Sabrina the teenage
Jack Tucker, ACE Mixing categories and witch, who initially
CONTRIBUTING PHOTOGRAPHERS will be watching the materialized in a
Martin Cohen proceedings nervously 1962 issue of Archie’s
Lauren Damaskinos
Christopher Fragapane from their seats at Madhouse comic book
Wm. Stetz the Dolby Theatre in before gaining her own
ADVERTISING SALES Hollywood. We wish comic book series and,
IngleDodd Media all of our nominated most memorably, the
Dan Dodd
310-207-4410, ext. 236 members the best of Sabrina the Teenage
dan@ingledodd.com luck (and you can read Witch live-action
EDITORIAL OFFICES interviews with them on CineMontage.org). television series (1996-2003). Well, the
7715 Sunset Boulevard, Suite 200 However, three Guild members witch is back. Chilling Adventures of
Hollywood, CA 90046
Phone – 323.876.4770 or 800.705.8700 will not be watching the Oscars — not Sabrina, currently in its first season on
Fax – 323.876.0861 because they’re not interested, but because Netflix, is a reboot featuring a darker
E-mail – CineMontage@editorsguild.com
Website – www.CineMontage.org they’ll be working the live show. They are depiction of the characters and the
the technical directors, whose jobs are environment. Sound for the series is posted
PUBLICATIONS COMMITTEE
A.J. Catoline (co-chair) to ensure that the broadcast comes off at Technicolor at Paramount by supervising
Jeff Burman (co-chair) without a hitch. Yes, the live show has sound editor Edmond J. Coblentz, Jr. and
Bobbi Banks, MPSE
Dorian Harris, ACE become so complex that a trio of TDs is his team, along with re-recording mixers
Frank Morrone, CAS, MPSE needed to make it happen flawlessly. Vicki Lemar and Ken Kobett. Mel Lambert
Kevin D. Ross, ACE
Molly Shock, ACE And Kenneth Shapiro, the technical goes on a sonic witch hunt to learn how the
director who handles effects, is the one spooky soundscape is created.
CINEMONTAGE (ISSN 2165-3526) is published quarterly by the
Motion Picture Editors Guild, IATSE Local 700, who has worked the Academy Awards the Legacies have to start somewhere,
7715 Sunset Blvd., Hollywood, CA 90046. longest: 20 shows in the past 30 years. and for many young filmmakers, that
Periodicals Postage paid at Los Angeles, CA.
Without giving away any tidbits or teases beginning is often the public unveiling of
SUBSCRIPTIONS: $10 of each Editors Guild member’s annual of what we can expect to see on the 24th their projects at a film festival. January’s
dues is allocated for a subscription to CINEMONTAGE.
POSTMASTER: Send address changes to CINEMONTAGE, (a confidentiality agreement with the Sundance Film Festival is the prime
7715 Sunset Blvd., Suite 200, Hollywood, CA 90046. Academy prohibits him from providing spawning ground for such debuts, so
The opinions expressed in this publication do not any spoilers), Shapiro tells our writer CineMontage decided to take a look at a
necessarily represent the official policy of the Editors Guild. Laura Almo about the complicated work few of the films that made their Sundance
CINEMONTAGE will not accept advertising from nonsignatory
companies that perform bargaining unit work. We welcome technical directors perform on the Oscars, premieres and were cut by Guild picture
editorial submissions and press releases. Contact Tomm Carroll, as well as how the demands of TD’ing the editors. Joseph Herman talks to three
Editor, at tcarroll@editorsguild.com or at 323-876-4770, ext. 222.
worldwide telecast have increased over the editors who had films in the competition
Copyright © 2019 The Motion Picture Editors Guild years as technology continues to advance. for the first time this year: Waldemar
5
Printed by California Offset Printing, Inc.
From the legacy of the Academy Centeno (Big Time Adolescence), Phyllis
Awards to legacy characters: The stars Housen (Clemency) and Kent Kincannon
of the animated Disney Channel show (Before You Know It). f
DuckTales are octogenarians. Huey,
Dewey and Louie (better known as the
nephews of Donald Duck) first appeared

PRESIDENT’S MESSAGE
Photo by Wm. Stetz
Let’s Continue the Solidarity

Brothers and Sisters, to us for ratification. We were the only IA local to
turn it down and we should hold our heads high.
L ast year was a challenging one for our Guild,

but also one of great promise. In our struggle
to get a fair deal for our members, we discovered
Our challenge now will be to keep this
wonderful solidarity going forward as we plan for the
next negotiations, when we can fight for a more just
how strongly you were behind the position of our and generous contract.
Board of Directors (pictured here) to fight for better Until then, I ask you all to keep active in the
protection of our pension and welfare plan, as well Guild and enforce the provisions of the current
as better and safer turnaround times and other contract. Also, I invite you all to attend our monthly
issues. Board meetings as guests to see how our Guild
I have belonged to the Editors Guild on both operates. Just call the office, find out the dates of
6 coasts since 1964 and I have never been so proud as the meetings and register your intention to attend. I
when I looked out at all of you — about 2,000 strong hope to see you there.
— at our meeting to support our National Executive Yours in solidarity,
Director Cathy Repola and the Board. A truly Alan Heim, ACE
astounding percentage of you then voted against President, Motion Picture Editors Guild,
accepting the contract when it was finally submitted Local 700 IATSE

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818.563.1385
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GETTING ORGANIZED
A Teachable Moment
Lessons Learned from the UTLA Strike
by Rob Callahan aggressively soliciting them to renounce their union memberships.
L ast June, my column in these pages invoked the cinematic

trope of the cliffhanger to describe a moment in which
organized labor in the US teetered precariously
“You now have a real choice,” read one such solicitation, e-mailed
to 500,000 New York state public employees by the group New
Choice NY. “For decades, public employees in
between potential catastrophe and potential New York were told to pay the union or quit their
renaissance. job. Those days are over.”
That column was motivated in large part The long-term impacts of such lobbying
by the then-looming Supreme Court decision and counter-organizing remain unclear. A
in Janus v. AFSCME. The decision itself, once little more than half a year after I advanced the
the Court handed it down, outlawed union metaphor, the notion of a cliffhanger remains
security clauses in the public sector, rendering apt. We’re still hanging…
all public-sector employment “right-to-work.” Still hanging, but we’re not yet hanged.
(So-called “right to work” laws discourage Indeed, the way in which we are hanging in
strong unions by mandating “open shops,” in has exceeded even some of the more optimistic
which individual employees can opt out of the inklings I included in my column last summer.
unions representing them.) Janus had been Although some union members have
widely anticipated to deliver a devastating — indeed quit in the aftermath of Janus, there
potentially even mortal — blow to our labor hasn’t yet been nearly the epic exodus of
movement. defections that many predicted. In advance
While last June we saw in Janus our looming doom, the state of the ruling, some unions had braced themselves for losses
of trade unionism, I asserted, could be characterized as two-faced. exceeding 10 percent. Hard data on the impact of Janus to date are
On the flip side, several trends appeared to signal that organized hard to find, but most observers agree that union members have
labor in the US, long on the decline, could conceivably rebound. not begun to renounce their memberships in droves.
These included a significant uptick in private-sector organizing, Many public sector unions rethought and redoubled their
increased pro-union sentiment in public opinion polling and, organizing efforts in anticipation of Janus, and several are
most remarkably, the eruption of militant worker actions best reporting that the new members drawn in by those efforts more
exemplified by the #RedForEd movement — in which tens of than offset those lost to defections. When co-workers are having
thousands of teachers nationwide defied expectations, the law earnest conversations in the workplace about the importance
and sometimes even their own unions to shut down schools and of remaining unified, those relationships effectively blunt any
demand a reinvestment in public education. potential effect of a piece of junk mail from a right-wing think
So if the labor movement then could be seen as dangling tank, ballyhooing how much money workers can save by stopping
from a cliff face, poised between a precipitous fall and a dramatic dues payments.
comeback, how has that suspenseful situation been resolved? The Not only have we not seen dramatic attrition in the half-year
short but unsatisfying answer is that it has not been resolved. We since Janus, not coincidentally we have seen dramatic action.
continue to face down grave — possibly even existential — threats. In the private sector, probably the most prominent example
Emboldened by anti-union forces’ victory in Janus, the of militant action in the latter part of 2018 was the eight-city,
American Legislative Exchange Council (ALEC) — a right-wing 8,000-worker strike against Marriott Hotels. It drew upon broader
group widely credited with having orchestrated the legal rollback struggles for justice — namely, the Fight for 15 and #MeToo
of union rights in Wisconsin, Michigan and other states a decade movements — to frame the workers’ demands for living wages and
ago — has unveiled a new raft of anti-union legislation it intends protections from sexual harassment and assault in the workplace.
to push. Labor’s enemies also continue to attack in the courts; The hotel workers won big, securing both dramatic raises
Uradnik v. Inter Faculty Association, currently on appeal to the (housekeepers in San Francisco saw raises of roughly 17 percent)
Supreme Court, could outlaw public employees’ election of unions and stronger protections against workplace abuse.
as their exclusive representatives, upending the legal mechanisms 9
for public-sector bargaining. OUT OF THE CLASSROOM AND ONTO THE STREETS
Meanwhile, anti-union outfits have sought to maximize But the most dramatic example of recent labor militancy has
the damage of Janus. Union antagonists such as the Freedom come, again, from teachers. Inspired by prior #RedForEd actions
Foundation and the Mackinac Center for Public Policy have and frustrated by two years of unproductive negotiations with the
used public records to identify and contact public employees, Los Angeles Unified School District (LAUSD), upwards of 30,000
11:05 AM
GETTING ORGANIZED
LA educators left their schools to take to the streets this January. to proponents of charter schools. In the course of record-setting
Their week-long strike proved to be a compelling demonstration of campaign spending, charter advocates outspent organized labor
collective action’s transformative power. about two-to-one to capture control of LAUSD. Their control led
Like many of you, I was proud to don red and walk the picket to the selection of investment banker Austin Beutner, widely seen
lines in solidarity with LA teachers, both at the school my kid as a proponent of privatization and austerity, as superintendent
attends and at Gardner Street Elementary, the school Local 700 a year later. Those two defeats were quickly followed by the Janus
jointly adopted with Local 600 during this strike. The courage decision, which threatened to hobble teachers unions.
and cohesion these educators
exhibited was profoundly
stirring. These are folks
who give immeasurably of
themselves in the classroom
to offer love, wisdom and
strength to the most valuable
and most vulnerable members
“T
of our community. And they
have left those classrooms
to give of themselves in the
streets, demanding respect
for their profession and
demanding investment in the
students in their charge.
The greater portion of
their strike coincided with the
nastiest series of storms to
drench the Southland in some
time but, deluge notwithstanding, spirits on the line remained A joint delegation from Locals 600 and 700 joins parents and other allies to
undamped. I salute the schoolteachers’ indefatigable spirit and support UTLA educators on the picket line at Gardner Street Elementary School
during the LAUSD teachers strike.
give kudos to all of you who offered your solidarity to help them
weather this struggle.
Much has been written about the achievements the teachers
secured at the table — raises, reduced class sizes and full-time UNDERSTANDING THE BEST DEFENSE
nurses in every school, among other improvements in working It is easy to imagine how such a triple whammy of defeats
conditions and educational practices. Although they didn’t win might force a union into a defensive posture. But UTLA decided
everything they had sought, the educators made huge strides to ramp up its militancy rather than to hunker down. Recognizing
toward their goals. Beyond the specific clauses of the 40-page the opportunity in these crises, the union persuaded its members
tentative agreement, the months and years to come will reveal how of the urgency of taking action to protect public education. The
the teachers’ stand will help shape the course of public debate and best defense, the educators came to understand, is aggressive
politicians’ decisions regarding educational policy not only in LA counter-attack.
but in in California and nationally as well. Another lesson we can derive from the teachers strike is the
Addressing throngs of cheering educators at the union’s importance of clearly connecting contractual disputes to broader
victory rally, Alex Caputo-Pearl, president of United Teachers of principles and larger struggles. UTLA deliberately foregrounded not
Los Angeles (UTLA), declared, “The biggest win is us, teaching just pocketbook issues (wages, benefits) but also concerns central
Los Angeles, and teaching the United States…how to fight, and to educational quality (class sizes, staffing, public accountability).
F
how to win… You just taught the best lesson of your lives!” The Several of the issues at the heart of their fight — such as curbing
B
UTLA strike does indeed afford us a teachable moment. Although “stop and frisk” practices in the schools — appeared well outside the
it will take some historical perspective before we can appraise the bounds of conventional bread-and-butter topics that are typically
full impact of the educators’ stand, I believe that already there are the focus of collective bargaining. Whether you refer to it as
AI
several important and immediate takeaways from the teachers’ “bargaining for the common good” (a catchphrase in labor circles)
10 action for the broader labor movement — our Guild included. or “intersectionality” (a term with currency amongst progressive
The first of these lessons is that defeats ought not precipitate
reflexive retreat or retrenchment. Aggressive offense is often the
intellectuals), it’s effectively the same idea: We must recognize how
our fights for better contracts are inextricably intertwined with
B
most effective way of fighting back from a setback. other movements in pursuit of justice. M
In May 2017, after a hard-fought election, union-endorsed
candidates lost their majority on the Los Angeles School Board CONTINUED ON PAGE 13

“TECHNICALLY, THE FILM IS
A MARVEL.” VARIETY
FO R YO U R CO N S I D ER ATI O N
BEST SOUND EDITING

AI-LING LEE cas and MILDRED IATROU MORGAN
BEST SOUND MIXING

MARY H. ELLIS cas, JON TAYLOR cas, FRANK A. MONTAÑO and AI-LING LEE cas
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GETTING ORGANIZED
CONTINUED FROM PAGE 10 The last of the lessons I’d like to touch upon here is one that
any and every successful organizing effort teaches us, a lesson
Despite the tremendous disruption they caused — the that’s evergreen. That is the centrality of rank-and-file engagement
teachers’ work stoppage interrupted instruction for nearly 700,000 to an effective struggle.
students — the outpouring of public support for the teachers was Much of the journalistic coverage of the strike presented it in
tremendous. That sentiment was due in no small part to the union’s the terms of a contest between two high-profile figures: Beutner
big-picture vision, framing the dispute in the context of profound as the ultimate boss of LAUSD and Alex Caputo-Pearl as the
questions about the future of public education. president of UTLA. That’s typical of how both labor and political
The city understood that the teachers’ objectives aligned strife is narrated in the media; reporters are good at profiling
with those of the community, that they were fighting on behalf of individual leaders, but generally less capable when it comes to
our kids. Moreover, the union made explicit that these issues, in a showing us the grand sweep of movements.
district overwhelmingly comprised of students of color and/or from But anyone who walked the teachers’ picket line or
low-income families, are not simply educational concerns but also attended one of their rallies could tell that this story transcended
matters of social and racial justice. interpersonal contest. It wasn’t merely a clash between the district
boss and the “union boss.” This story had
a cast of thousands, and none of them was
an extra. As somebody who has walked his
fair share of picket lines over the past two
decades, I was impressed by the degree to
which seemingly each individual member of
the union played an active role in ensuring
the strike’s success.
The teachers weren’t mere bystanders
relying upon their union president or any
other elected leader to win this fight for
them. The rank-and-file were invested in the
strike’s objectives, they were shouldering
responsibility for keeping the picket lines
strong, and they were developing their own
initiatives for how to make the effort more
effective.
“A lot of this fight was about educators
coming together and finding innovative ways
of keeping the energy up,” said Reyes of his
Teachers, students, parents and allies walk the picket line at Gardner Street co-workers’ efforts to maintain both public pressure and union
Elementary School. members’ morale during the work stoppage. “Especially in the rain
Photo by Rob Callahan and without an idea of what could be achieved.” That level of broad
and active participation in the fight led to action that was both
UTLA’s framing of the issues was so effective that even admirably disciplined and compellingly spirited.
Beutner, the union’s nemesis, had to concede that the educators’ “When I think about strikes,” he continued, “the image they
goals were laudable (although, he claimed throughout the dispute, conjure up can be somber. But it doesn’t necessarily have to be that
unaffordable). However, framing a contract fight in terms of broader way. You can stand up joyfully, you can stand up in celebration —
principles of justice wasn’t merely a means of garnering public which is what we chose to do.”
support or rendering management’s position morally bankrupt. It As I write this, teachers in Denver and Oakland are
also proved key to fueling the passions of rank-and-file members contemplating possible strikes of their own. The ultimate outcome
themselves, passions necessary to sustain them through the course of the #RedForEd struggles remains unwritten. But the imprint this
of a difficult fight. Were this dispute over mere economics or narrow movement and, in particular, the LA teachers have left upon the
self-interest — “7½ cents,” to borrow a line from The Pajama Game labor movement already appears indelible. When future historians
— it could not have generated the righteous fury necessary to win. eventually tell the story of how organized labor in this country
“If your intention is to save public education, at some successfully clawed its way back from the brink of catastrophe in 13
point it’s okay to stand up and take that risk,” explained Robert the early 21st century, present-day teachers will figure as prominent
Reyes, a third grade teacher and UTLA chapter chair at Gardner protagonists.
Elementary. “We recognized we are all on the same side, which Today, we celebrate their victory; tomorrow, we need to adapt
made it easier to do this as a group. We built trust through a their lessons in order to push for greater dignity and power in our
common thread. We were fighting for our kids and for each other.” own workplaces. f

CONTRACTUAL OBLIGATIONS
The Importance of Enforcement

by Scott George and Paul Moore who has an extensive background in they may have. This has been very helpful
A s part of the IATSE union, the Editors

Guild is fortunate to have plentiful
resources to offer many benefits for our
payroll, to our New York office to assist
with this effort. This has helped to ensure
that member wages and benefits have been
in ensuring that sound and music are not
overlooked in the Low-Budget and Single-
Production Videotape contracts.
membership. These include training, paid correctly. Additionally, we will be looking to
seminars, mixers and screenings, to name In addition to wage and benefit issues, expand this form of communication with
a few. This is understandably a vital part of it is also common to find mistakes in how the membership throughout the year by
how the Guild assists the members, but it’s Night Premiums, Housing Allowance, adding all Single-Production contracts and
important to remember the fundamental Per Diem, Idle Pay and Box Rentals are some of our term agreements as well.
priority we have as a labor union: ensuring paid. Determining and resolving these This form of enforcement has
that terms and conditions of the Collective violations allows the Guild staff to educate yielded very successful results, but does
Bargaining Agreements under which the affected member and producer on their not include current open grievances and
our members work are being adhered contractual obligations. audits that are still in review. It should
to. This is essential in representing the With the Los Angeles office having also be noted that this does not include
membership. such a large number of members, we member support that field representatives
As your Western Executive Director focused on finding ways to proactively provide to prevent foreseen violations.
and Eastern Executive Director, our inform the members and producers of the Being notified of improper staffing
primary focus is to maximize all shows’ specific contractual obligations. In or illegal subcontracting before post-
efforts in the coordination of contract the new position of contract administrator, production starts is a prime example.
enforcement, including overseeing the field Fred Arteaga assists in supporting this During the calendar year of 2018, the Guild
representative staff. objective. staff assisted in recouping the following
There are myriad contracts: Post- damages:
Production Majors, Post-Production Wages: $493,564
Independent, Post-Production Majors Last year, we saw the MPIPHP Benefits: $182,694
New York, Low-Budget Theatrical, Damages paid to Local: $75,900
Videotape Supplemental, New Media unprecedented engagement (Damages are paid to the Local when
Sideletter, HBO/Showtime/Starz, of members during the a violation occurs but a member was not
Endemol, Cranetown and Story Analyst, directly involved — for instance, if a show
to name a few. Many of these are Single- Basic Agreement does not hire a music editor. Because there
Production Agreements, with Memoranda negotiations. is no music editor to be awarded damages,
of Agreements that modify provisions the Guild deposits those damages in the
covered in the term agreement. If that’s General Fund.)
not complicated enough, some of these Many of you have probably received It’s important to note that the majority
agreements also have different tiers that are an e-mail informing you about the specific of these issues can be resolved without
tied to budgets, length and subscriptions. contract for your show if you worked a grievance. A simple phone call to the
Understanding the difficulty members under the Low-Budget Agreement or company often rectifies the situation. The
endure when trying to navigate through all Single-Production Videotape contract. contracts obligate both the union and
these contracts — even if only to determine We focused on the contracts for shows the company to abide by them. These are
the scale guarantee — required us to look identified as frequent violators. The e-mail mature contracts, so it’s infrequent that
at how we can more effectively provide highlights the most common provisions parties disagree over the interpretation
all the pertinent details of the project’s that members need to know (overtime, of the provisions — but it does happen
contractual guarantees. With the Guild night premiums, turnaround, wage occasionally. In that instance, a formal
having over 8,100 members, it was clear rates, vacation, holiday, etc.). It’s also an grievance is filed, which could result in an
that our field representatives’ site visits and opportunity for field representatives to arbitration hearing.
responses to member questions via phone introduce themselves to you as the Guild By educating the members to increase
14 and e-mail only reach a small percentage of contact for additional contract questions, their commitment to notifying our offices
our membership. or to request a site visit. when their contractual rights are being
Throughout 2018, the New York office In addition, each producer signed violated, the Guild will be stronger.
regularly requested payroll reports at the to the individual project is contacted to These reported damage amounts
conclusion of projects to conduct a payroll discuss the terms and conditions of the
audit. We have added George Camarda, contract, as well as to answer any questions CONTINUED ON PAGE 70

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BEST PICTURE
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BEST FILM EDITING PATRICK J. DON VITO
“THE FILM CROSSES A DIVIDE THAT REMAINS ALL TOO PREVALENT IN THE
NATION TODAY, UNITING VIEWERS WITH A POTENT REMINDER THAT
THE SEEDS OF EMPATHY ARE PLANTED IN SHARING THE SIMPLE JOYS OF LIFE.”
FO R YOUR CONS IDERAT ION
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PATRICK J. DON VITO
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S
E
UNION MADE
O
From KEM Rolls to ‘Lost Souls’
by Christopher Kroll
My Life in Post
on previewed poorly, A-list editor Lou sat with the director every day for months.
I grew up in Santa Clarita during the

1970s. In my early teens, I’d go to work
with my dad, Leonard Kroll, who, at the
Lombardo was brought in to do a fix. I
watched him untangle the story and give it
pace. One shot panned from one character
Our heads exploded when we got into
Sundance.
Unfortunately, our success didn’t
time, was the head of post-production at all the way around a room full of people help my career, mainly because that was
20th Century-Fox. My favorite 2008. The economy was in
thing was accompanying him a severe recession — the
to QC-check 35mm release whole industry downsized!
prints. I never knew what I Everyone in entertainment
was going to see — it’d be was struggling to keep afloat.
anything from Alien to Norma Opportunities to move up
Rae (both 1979). Getting lost seemed scarcer than before.
in a story with no previous I started alternating
expectations is something — assisting one for them,
I’ve never been able to re- then editing one indie for
create. But because of that me. Editing opportunities
experience, I enjoy all kinds in features were shrinking,
of movies whether or not I fit so I focused on a move to
the intended demographic. television and found a niche
My uncle, Bob Wyman, with editors who would let me
was an editor (Rosemary’s practice cutting. Sometimes
Baby, 1968; Logan’s Run, 1976, Lost Souls. New Line Cinema/Photofest I’d get bumped up, but more
among others), so growing often, the show would get
up around post-production I felt drawn to it to another character. It took forever but canceled and I’d have to start over.
though I didn’t know exactly where I would we were tied to the start and stop of the I spent the next few years assisting
land. My first job in the business was as a shot. Lombardo made a cut in the middle on shows that promised to move me up to
PA in accounting on the film Star 80 (1983). that flowed seamlessly, trimming the shot editor if they got picked up (they didn’t)
Delivering the weekly paychecks gave me by two-thirds. My favorite response ever and then hooked up with editor Larry
the opportunity to look behind the scenes of was when I asked him how he did it, he Maddox, ACE. He took me under his
every department, and I liked how editorial said, “You think you’re playing with kids?” wing and introduced me to his agent who
was separate from the chaos of production. He gave me my foundation for visual started putting my name out there.
Upon high school graduation, I got an storytelling. Soon, I got a call for an interview
interview for an apprentice editor position I could foresee that digital editing on the ABC sitcom American Housewife
on the non-union show Doin’ Time (1985) would replace film so I took an Avid (2016-present). I wanted this editing
and was fortunate to get hired. My first task class and was soon hired by editor Anne job so badly that I cross-referenced
was to reconstitute KEM rolls. That meant Goursaud, ACE, to assist her on Lost Souls every producer on the show to anyone
restoring the film the editor didn’t use back (2000). One day, her friend needed help with whom I had worked and found a
into a linear order based on sequential editing a directing reel. Goursaud took connection, Tad Quill. He said he’d put
numbers stamped at every foot (code random footage and creatively made it in a good word for me. At the interview,
numbers). Then break apart and spool haunting and beautiful. I learned how an not only had Quill called, but Eric Garcia
each take into Moviola rolls. I learned editor could be an artist. (another producer with whom I’d worked)
how to splice and read a codebook. When In 2005, I made a push to become had also recommended me. I got the gig!
the production company folded, Warner an editor. I set up Avid Xpress Pro on my I’ve worked with some brilliant editors 17
Bros. picked up the show for completion. laptop with an external gigabyte drive, a and tried to learn something from them all.
Because Warner was union, I got my 30 second monitor and a bookshelf stereo What I like most about post-production is
days and was able to join the Editors Guild. for sound — ready to take on any editing that it’s where all the pieces come together;
I apprenticed for a few years before project to build my credits. My first gig it’s where the show is made. f
moving up to assisting. When a film I was was Good Dick (2008) with Jason Ritter. I

THIS QUARTER IN FILM HISTORY
There’s More Than a Riot Going On! by Edward Landler rarely do they attempt more than a token reference
Riot in Cell Block 11.
Allied Artists Pictures/
Photofest
P risons are not visually attractive. That may be
why prison movies were not a significant genre
during the silent era. But after the introduction
to the social and economic causes of crime and its
consequences.
On February 28, 1954, Allied Artists released
of talking pictures and as sound technology was Walter Wanger Productions’ Riot in Cell Block 11,
refined, the 1930s saw the studios turn out over 60 a film shot at Folsom State Prison in 16 days on
movies set in penitentiaries. a budget just under $300,000. Its Variety review
Attuned to melodramatic situations by its very read, “The picture doesn’t use a formula prison
nature, sound underscored the ambience of long plot. There’s no inmate reformed by love or fair
confinement and the expression of emotions and treatment…nor are there any heroes and heavies
18 conflicts literally pent up until they would erupt into of standard pattern.” Howard McClay in the Los
violence. Audiences drawn by action and brutality Angeles Daily News called it “the best film of its kind
could also identify with themes of innocence and to ever hit the screen.”
guilt, rehabilitation and redemption, escape and During its initial run 65 years ago, Riot grossed
official corruption. While most prison films to this
day vividly depict the hardships of incarceration, CONTINUED ON PAGE 20

ACADEMY AWARD NOMINATIONS
®
BEST PICTURE
INCL UDING
OF THE YEAR
BEST DIRECTOR Spike Lee • BEST FILM EDITING Barry Alexander Brown
“SPIKE LEE’S ‘BLACKKKLANSMAN’ IS DARING AND ESSENTIAL.

EVERY FRAME IS PACKED
WITH MEANING AND METAPHOR.” Lindsey Bahr, AP
A SPIKE LEE JOINT
WRITTEN BY: CHARLIE WACHTEL & DAVID RABINOWITZ AND KEVIN WILLMOTT & SPIKE LEE DIRECTED BY: SPIKE LEE
FOR MORE INFO ON THIS FILM, GO TO WWW.FOCUSFEATURESGUILDS2018.COM ©2018 FOCUS FEATURES LLC.
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over $1.5 million dollars, wounded and wary of damaging Bennett’s career,
a phenomenal amount Lang refused to file charges, but authorities
for essentially a prosecuted. A leading producer for 20 years and
B-picture. The British two-time president of the Academy of Motion
Academy of Film and Picture Arts and Sciences, Wanger had not
Television Arts (BAFTA) recovered financially from his big-budget 1948 flop,
nominated it for Best Joan of Arc starring Ingrid Bergman, and his friends
Film from Any Source (among them, Samuel Goldwyn, Walt Disney,
and its star Neville Brand Darryl F. Zanuck and Walter Mirisch) contributed to
for Best Foreign Actor. his legal expenses.
Director Don Siegel was Despite pleading temporary insanity, the
nominated for the DGA producer was sentenced to four months in the Los
Award for Outstanding Angeles County Honor Farm in Castaic. According
Directorial Achievement. to Matthew Bernstein’s 1994 biography, Walter
The movie also inspired Wanger: Hollywood Independent, upon his release
Jerry Leiber and Mike in June 1952 after serving 98 days of the sentence,
Stoller to write “Riot in Wanger told the press that the prison system “is
Cell Block Nine,” the “the nation’s number one scandal… I want to do a
Robins’ (soon renamed film about it.” The difference between Castaic and
the Coasters) first R&B San Quentin or Folsom was, he added, “a matter of
hit single, released in degree not kind.”
June of that year. Seeking backing for the project, the ex-convict
From its conception, producer approached Mirisch, head of production
producer Wanger at the “poverty row” company, Monogram Pictures.
intended Riot to speak With television taking audiences away from
directly to the 30 prison theatres, Mirisch was transforming Monogram into
riots that had occurred Allied Artists (AA), hoping to raise the quality of
in the United States in studio productions to break into the more profitable
the previous three years. urban “early-run” market.
In a terse and exciting Mirisch put Wanger in charge of other AA
80 minutes, the film’s projects while he developed his prison script. Early
narrative focuses on in 1953, Wanger discussed the movie with Richard
the riot itself through a Collins, a writer Mirisch had hired for another
multi-dimensional view project. A former Communist Party member, Collins
Poster art for Riot in Cell of the interactions of sharply drawn characters, was one of the original “Hollywood 19” subpoenaed
Block 11. offering a complex perspective of American society by the House Un-American Activities Committee
Allied Artists Pictures/ through the institution of prison. and blacklisted by the industry until, unlike the
Photofest
A month before the movie opened, Wanger jailed “Hollywood 10,” he named names as a co-
told Variety, “I wanted to make a picture that would operative witness in 1951. At Allied Artists, he earned
make the public realize what a failure the prison $500 a week; before the blacklist he had made up to
system is today.” He blamed “vested interests” of the $1,500 a week.
underworld and politics for supporting the system’s Collins started work on the screenplay in
major faults: “…idleness, failure to separate and March with Wanger guiding the tone and the
medicate psychopaths, overcrowding and releasing shape of the narrative. The story was drawn from
prisoners before they are ready to resume normal the actual events of the Jackson, Michigan State
life.” Prison riot of April 1952, in which 2,600 convicts
The producer was motivated by personal held nine guards hostage and caused $2.5 million
experience. Like the film’s character of the Colonel, in damages. The movie’s riot leaders were based
a retired military officer in prison for manslaughter, on the leaders of the Jackson riot, Earl Ward and
20 Wanger realized, “…anyone can land in prison — just “Crazy” Jack Hyatt, identified by prison authorities
like that!” as psychopaths.
Late in 1951, certain that his wife, actress Based on Jackson’s assistant deputy warden
Joan Bennett, was having an affair with her agent, Vernon Fox, the film’s warden sees the need for
Jennings Lang of MCA, Wanger shot Lang in the
groin in a Beverly Hills parking lot. Only slightly CONTINUED ON PAGE 22

‘‘ EVERY FRAME IS INFUSED WITH
SOUL AND STYLE. ‘BLACK PANTHER’’S
NUANCED CELEBRATION
OF PRIDE AND IDENTITY AND
PERSONAL RESPONSIBILITY ‘‘
IS THE MOVIE’S OWN TRUE SUPERPOWER.
L E A H G R E E N B L AT T
‘‘ ‘BLACK PANTHER’ IS
STAGGERINGLY RICH ‘‘
IN VISIONS, DREAMS, IDEAS.
J U S T I N C H A N G
FOR YOUR CONSIDERATION
BEST PICTURE
WAKANDA FOREVER
DIS1597
FINAL2
1/28/19 1:00PM LJ
CONTINUED FROM PAGE 20 Wanger described his research, which included
listing the penal authorities consulted: Folsom
reform and sympathizes with the rioters’ demands. warden Robert Heinze, associate warden William
The film rioters’ demands were the same as the Ryan, and California Department of Corrections
demands of the Jackson inmates: remodeling director Richard Magee.
cell blocks to give inmates more room and light; On July 22, Siegel was hired as director for a
separating the mentally disturbed for medical $10,000 flat fee. Starting in the industry at Warner
treatment; getting rid of manacles, leg irons, chains Bros. in 1934, he worked up from the stock-shot
and brutal guards; and no reprisals against riot library to editing to founding the studio’s montage
leaders and participants. Wanger added one demand department, directing second-unit shoots and
in the screenplay: “Teach us a trade so when we get editing the material into montages for many Warner
out we’ll be able to hold down a job.” pictures until he began directing features in 1946.
His early experience is apparent in
Riot’s opening prison montage and
its smooth transition into the film’s
narrative. Editor Bruce B. Pierce, ACE,
assembled an early cut while Siegel
shot on location, and they worked
closely together through post.
As to working with Collins on the
final draft of the script, the director
told Peter Bogdanovich in a 1968
interview in the English film magazine
Movie, “I felt this picture had
something to say and didn’t choose
sides… I molded the script so it would
have the excitement it does have. Dick
Collins wrote it all — but I think he
would admit I contributed.”
Wanger and Siegel scouted
Alcatraz, San Quentin and Folsom as
possible locations, deciding on Folsom
when they learned the prison had an
empty 1880s-built two-story cell block
which the production could take over
Riot in Cell Block 11. He also insisted that Collins eliminate the completely. Despite Siegel’s guarantee of a 16-day
Allied Artists Pictures/ scripted opening scene starting with a shot of a shoot, warden Heinze was reluctant to permit it
Photofest robin in the warden’s wife’s garden just outside the because a movie shoot went 11 days over schedule in
walls. Instead, he wanted him to drop the wife and 1951.
open with newsreel footage of prison riots of the To ease the warden’s mind, Siegel introduced
early ‘50s. him to the crew members who were on the
From the first shooting script to the final scouting trip — most importantly, he thought,
cut of October 20, the producer kept up a cinematographer Russell Harlan, ASC, who lensed
continuing correspondence with Production Code regularly for director Howard Hawks. But when
Administration (PCA) chief Joseph Breen. On June Heinze met the production assistant on his first
17, Breen acknowledged that Wanger “had already movie job (hired with a recommendation from then-
eliminated references to perverts and homosexuals,” California attorney general, later governor, Edmond
but requested that “the intimate parts of women, G. Brown, Sr.), he recognized Sam Peckinpah, the
specifically the breasts…be fully covered at all times,” son of prominent Fresno judge Denver Peckinpah.
22 referring to pin-up pictures posted in convicts’ cells. According to Siegel, in the 1993 A Siegel Film: An
Breen still maintained his major objection to Autobiography, the warden made the future director
the script on July 21 — “that it definitely throws the film’s production liaison, telling him, “If you run
sympathy to the side of the criminals as opposed into any trouble, or have need of any information, be
to constituted authority and the administration of
justice.” The PCA gave its approval in October after CONTINUED ON PAGE 24

AC A D E MY AWA R D® N OM I N E E
B E ST D O C UM E N TA RY F E AT U R E
B A F TA F I L M AWA R D S
N OM I N E E
B E ST D O C UM E N TA RY
“ ELECTRIFYING.”
VISUALLY STAGGERING.”
A MASTERPIECE NEARLY
AS IMPRESSIVE IN EXECUTION
AS THE CLIMB ITSELF.”
AN EXTRAORDINARY GIFT
“
TO EVERYONE WHO BELIEVES

THAT THE LIMIT OF HUMAN
ACHIEVEMENT IS FAR FROM
BEING REACHED.”
L I V E B E YO N D F E A R.
F O R YO U R C O N S I D E R AT I O N
B E S T D O C U M E N TA RY F E AT U R E
F RO M T H E D I R E C TO R S O F M E RU
FreeSoloFilm.com
Copyright © 2018 NGC NETWORKS US, LLC
CONTINUED FROM PAGE 22 bar clangs to machine noises, communications
systems and loudspeakers, all woven together in the
sure to see me, personally.” chaos of the major riot sequences.
Principal photography began August 17 and For the exterior riot scenes, 700 volunteers out
the lack of recognizable stars strengthened the of Folsom’s 4,500 inmates were screened by the
authenticity of the setting. Like Brand, who had yard captain’s office and the convict-elected Inmate
been the fourth most decorated soldier in World Council, and selected to participate as extras. None
War II, fellow actor Leo Gordon had also fought in of the convicts could be shown in close ups — only
the war and also used the GI Bill to study acting. But actors, state police officers and prison guards serving
the huge and intimidating Gordon had served five as extras. The sequences were shot with armed
years in San Quentin for armed robbery and Heinze guards on duty atop the walls.
did not want him in his prison for any reason. Describing the shoot for Stuart Kaminsky’s
1974 biography, Don Siegel: Director,
Brand said, “We didn’t know what…
would happen in that prison yard
during the riot scenes. Those were
spooky scenes… You had to be there to
capture what happened like you were
in Vietnam in a documentary.”
Production wrapped on the 16th
day, but the following week minor
scenes were shot over two days at
another location because “of a few
cell interiors which presented difficult
problems for us to light,” Siegel told
Bogdanovich.
Allied Artists launched Riot’s
release with a $350,000 promotional
budget, unprecedented for the studio.
The week of its opening, the bi-weekly
general-interest magazine Look
published a major feature story by
producer Wanger, describing prison
conditions and the complexity of
reform explored in the film.
Riot in Cell Block 11. Siegel and Wanger convinced the warden that With his career re-established, Wanger
Allied Artists Pictures/ not hiring the ex-con would undermine their case produced Siegel’s classic Invasion of the Body
Photofest for reform in the movie. In his autobiography, the Snatchers (1956) and ended his career with the
director recalled Heinze agreeing, but with one disastrous production of Cleopatra (1963) that
condition: “Each day Gordon reports to work, he’ll almost ruined 20th Century-Fox. Siegel became a
be admitted through a side gate. Guards will strip major director, making Clint Eastwood an A-list
and search him, both on entering and leaving.” star in Dirty Harry (1971) and taking him to another
prison in Escape from Alcatraz (1979).
Seen today, with the exception of a few Seen today, with the exception of a few minor
anachronisms, Riot in Cell Block 11 still speaks
minor anachronisms, Riot in Cell Block 11 directly to our dysfunctional penitentiary system.
still speaks directly to our dysfunctional The growing privatization of prisons, which raises
penitentiary system. America’s already highest rate of incarceration in the
world, gives a new twist to the words of California
24 Throughout the shoot itself, the crisp and corrections director Magee in the film’s opening
precise sounds picked up by recordist Paul Schmutz newsreel montage about “the shortsighted neglect of
added immensely to audiences’ immersion in the our penal institutions amounting to almost criminal
inmates’ experience. As the narrative unfolds, negligence.” f
layers of sound are gradually built over the constant
resonant hum of the cell block, from cell door and

MY MOST MEMORABLE FILM
Tommy Vicari on ‘Road to Perdition’
Road to Perdition. DreamWorks/Photofest
by Peter Tonguette its potent blend of humanity and thrills, the
Tommy Vicari.
Y ou might say that Tommy Vicari,
CAS, is the beneficiary of good
timing. A few years after director Sam Mendes
DreamWorks Pictures release received admiring
reviews and impressive box office receipts, grossing
over $100 million during its summer release.
and composer Thomas Newman were the toast of “Imagine this: Sam Mendes wins Best Picture
the film world for the Academy Award-winning for American Beauty, an incredible movie; and
American Beauty (1999), Vicari was asked to serve Tom Newman is nominated for Best Score,” Vicari
as scoring mixer on their follow-up film, Road to reflects. “This is their follow-up, and they’ve asked
Perdition (2002). me to do this movie. This is my first major motion
The crime drama, which unfolds in Illinois picture — the first time that I’m the engineer: ‘This
during the Great Depression, stars Tom Hanks is my movie.’”
as Michael Sullivan, a worker bee in the Mafia Although Road to Perdition was Vicari’s most
operation of John Rooney (Paul Newman). Adapted significant film to date, he had worked in the record
from a graphic novel by Max Allan Collins and business — and flirted with the film business — for
Richard Piers Rayner, the storyline takes off when decades. A native of Southern California, he grew
one of Sullivan’s sons with wife Annie (Jennifer up in a family of music-makers. “My mother was a
Jason Leigh), Michael, Jr. (Tyler Hoechlin), is singer in a big band; my uncles were musicians,” he 25
an inadvertent observer to a Mafia hit. Having recounts. “I remember listening to Ray Charles when
themselves become targets, father and son skip I was a child — and Sinatra, Jackie Wilson, Nat King
town in flight from the mob operation, including Cole and Dean Martin. As a teenager, I loved the
Rooney’s son Connor (Daniel Craig) and menacing British invasion with the Beatles, and I loved the
photographer/killer Maguire (Jude Law). With Phil Spector records.”

Vicari parlayed his passion into a career in the cue,’” Vicari recalls. “I played the cue, and I had
early 1970s when he joined Capitol Records. His pinned Mel up against the back wall because it was
first jobs, however, were in the mailroom and then so loud. I was used to being a record mixer. I said,
in the data-processing department — not exactly ‘Oh, this dialogue is kind of important!’”
what he had in mind. “That was pretty
much as far away from the record business
as I could get,” he recalls. “I got a job with
an independent record producer who had
worked at Capitol Records, and we had a
little company for about a year, but I got
a connection with the daughter of our
secretary — who was the secretary of [A&M
Records executive] Jerry Moss.”
After completing a three-month
engineering apprenticeship program at A&M,
Vicari won employment at the legendary
label, working first as an assistant engineer
and then as a full-blown engineer. “A&M was
the hub of the record business at that time,”
he remembers. “Every day when you went to
work, it was Joni Mitchell, Burt Bacharach,
Barbra Streisand, Joe Cocker, Billy Preston,
Paul Williams, Gino Vannelli, Cat Stevens… It
was just a plethora of amazing music — some of the He first crossed paths with Thomas Newman Tommy Vicari, left, working
era’s most memorable artists.” when the composer needed a mixer for an with composer Thomas
Four years later, he accepted a position as ultimately unused track in Martin Brest’s Meet Joe Newman on the score for the
pilot of The Newsroom series
staff engineer at Sound Labs and eventually went Black (1998). “It never made the movie, but I was in 2012.
independent. “I was the executive producer of incredibly honored,” Vicari says. Subsequently, he
Prince’s first album for Warner Bros., when he was mixed Newman’s main theme to the HBO series
just 17,” Vicari comments. “One day I introduced Six Feet Under (2001-2005). Then came the offer to
Prince to Sly Stone. I remember standing in the join Road to Perdition. “I was being inserted into
Record Plant, thinking to myself, ‘This kid is going a group of people who’ve been working together for
to kick your ass!’” a long period of time, and I didn’t feel completely
As he was making waves with music, however, comfortable,” he recalls. “But I felt completely
Vicari was getting a taste for film. Early in his honored to be in their presence, and I wanted to do
career, he received a sound credit on the Joe Cocker the very best job I could.”
concert film Mad Dogs & Englishmen (1971), while The three-month scoring process on Road to
his association with Williams led to his work as Perdition began at Paramount Stage M, where pre-
a scoring mixer on Brian De Palma’s Phantom of records were done with individual instrumentalists,
the Paradise (1974), which featured Williams in including Jon Clarke, Eric Rigler, Steve Kujala, George
a leading role. Other film assignments followed, Doering, Steve Tavaglione, Michael Fisher and Rick
including the Streisand-Kris Kristofferson A Star Is Cox, among others. “Tom usually comes in with a
Born (1976) with music producer Phil Ramone. Yet skeleton guide, which we then embellish,” Vicari
the then-engineer always had a clear sense of his explains, adding, “Keep in mind, this is a totally
career priorities. “I was never in the film business,” analog movie. Every 10 passes, I have to make a slave
he offers. “I was in the record business.” and then bounce it all back to two multi-tracks. This
In 1996, Quincy Jones, executive producer was quite an involved situation, and I was helped by
of that year’s Academy Awards, invited Vicari to [guitarist] George Doering and [score recordist] Paul
mix the music for the Oscars telecast, a gig that Wertheimer.”
26 continues to this day. Feature film assignments After the pre-records were completed, the team
quickly followed. Although his approach to mixing went to the Newman Scoring Stage (named for
remained constant, he had to adjust to the different Thomas’ father, the legendary composer/arranger/
technology of film, as well as to the presence of conductor Alfred Newman) at 20th Century Fox to
dialogue and sound effects. “When I did Payback add the orchestra with Armin Steiner. “Armin was
[1999] for Mel Gibson, they said, ‘OK, let’s hear the one of the world’s premier scoring mixers, and my

mentor,” he relates. “He scored
the orchestra after I did all the
pre-records.” The crew then
returned to Signet Sound, where
Vicari merged the orchestra and
pre-records into the final mix.
With the help of mix assistant
Tom Hardisty, the final stems
were mixed to Pro Tools.
The final mix of music
includes many original pre-
records, such as the haunting
scene in which Sullivan and
his son drive to the warehouse
where the murder that launches
the plot takes place. “That
whole piece of music is all
pre-recorded, and then you
have strings coming in at a
certain point to add emotion,”
Vicari recounts. Other scenes,
including the journey of Sullivan
and son to Chicago, stand out
for other orchestral appeal. “The in the film’s overall soundscape. “The way that the Road to Perdition.
‘Road to Chicago’ is one of my favorite orchestral sound effects and the music co-exist in that movie is DreamWorks/Photofest
pieces,” the scoring mixer offers. “The melody is really revolutionary,” Vicari maintains.
beautiful, and it kind of builds. When the kid sees For Vicari, the adventure of working on Road
Chicago, the camera pans around, and then the music to Perdition went beyond working on a memorable
really crescendos until he gets past all the people score. Despite his past experience on other projects,
having dinner and then gets to an elevator.” the film served as his official introduction to the
world of major feature films. “I was new to the film
business,” he says. “On one of the scoring dates, Sam
“Keep in mind, this is a Mendes came in with cinematographer Conrad Hall.
totally analog movie. Now I did not know who Conrad Hall was. I used to
wait for the credits to roll, but I was usually looking
Every 10 passes, I have for music. That movie is so beautifully shot. It was
Conrad’s last film.”
to make a slave and then It was just the beginning for Vicari, who went
bounce it all back to two on to a multi-film collaboration with Newman. The
two worked together on such films as Ron Howard’s
multi-tracks.” Cinderella Man (2005), Andrew Stanton’s WALL-E
(2008) and Steven Spielberg’s Bridge of Spies (2015),
As the scoring mixer describes it, the as well as two more films for Mendes: Jarhead (2005)
composition itself was completed during the mix. and Revolutionary Road (2008). “As far as growing
“There are a lot of elements that get put on tape, and up, all of this stuff with the record business was fun
then Tom sits with me in the mix and we audition it,” — and I was young,” he reflects. “But these are great
Vicari explains. “I can pretty much tell whether it’s movies; Tom picks great movies.”
going to make it or not, but we put it on, because you Today, the scoring mixer is as active as ever,
never know. It may be a good piece here, a piece there. working with composer Nicholas Britell on
It all added to the mosaic Tom created.” Moonlight (2016) and last year’s acclaimed If Beale 27
Newman, he added, was part of the process Street Could Talk, but he remains partial to the
each step of the way. “He’s involved in the direction unique power of Road to Perdition. “If Road to
that the musicians go all the way to the end of it,” Perdition was the only movie I ever got to work on in
my lifetime, that would be OK with me,” he says. “It
was one of the highlights.” f
he reports. For his part, Mendes was impressed
with the mix of music — and how prominent it was

The Sundance Kids
Three Editors and Their Films
Make Their Debuts in Park City
Phyllis Housen.
Photo by Lauren Damaskinos
by Joseph Herman
F or a picture editor working in independent films,

Kent Kincannon, left, and
Waldemar Centeno.
Photo by Martin Cohen there are few things more exhilarating than having
your film accepted in a major film festival — especially
if it does not yet have a distributor, and particularly
if the fest is the premier showcase for indie films: the
Sundance Film Festival in Park City, Utah. This year,
the festival ran January 24 to February 3.
In mid-January, CineMontage profiled three
editors whose films were scheduled to make their
28 world premieres at Sundance in the US Dramatic
Competition: Phyllis Housen, editor of Clemency;
Waldemar Centeno, editor of Big Time Adolescence;
and Kent Kincannon, editor of Before You Know It.

where she was exposed to the great movies in the
American filmmaking canon.
In high school, Housen had a teacher who taught
a film history class, which had a marked influence on
her. Almost immediately, she knew what she wanted
to do with her life and eventually enrolled in Tufts
University to study film theory and English literature.
Initially she intended to write about film. “I
wanted to be Pauline Kael,” she recalls. For her fourth
year, she spent a year “abroad” — not overseas but in
Hollywood, writing a paper comparing the editing
styles of Federico Fellini and Bob Fosse for her thesis.
Smitten with editing, she subsequently attended
the London International Film School, where she
earned her MFA. After London, she moved to another
Photo courtesy Phyllis Housen
great European city, Paris. However, it wasn’t easy

for an American artist to break into the French
cinema establishment. “The unions are very tough in
Europe,” Housen says. Instead, she worked with young
American filmmakers, colleagues and friends who
came to Paris, where she would edit their projects.
As poetic and artistic as being an American in
Paris may seem, however, after several years of living
PHYLLIS HOUSEN in France Housen realized it was time to get serious
Editor of Clemency about her work, which meant relocating to California.
The longer she waited, she realized, the harder it
A side from an apparent love of the cinema,

Phyllis Housen has an infectious enthusiasm for
editing and an ebullient personality. “We’re all super
would be to start climbing the requisite rungs of
assistance-ship. So she booked a one-way ticket to LA.
Her first gig was on Guillermo del Toro’s first
excited,” she says about Clemency’s selection for the feature, Cronos (1993), an unusual film about an
Sundance’s dramatic competition. “I’ve been there a object that had the power to grant everlasting life.
couple of times as a friend or assistant, but this is the Soon afterward, she joined the Editors Guild. When
first time as the editor of a film in competition.” asked who her mentors were at this time, she replies,
Housen grew up in a small town in Massachusetts “The late Sally Menke was a mentor to many of us.
where her grandfather started a paper mill. Working There was a group of young women whom she taught
in the family business, however, was not in the cards. how to edit.”
Instead, she developed a love for cinema, thanks to Clemency.
frequent trips alongside her father to the local theatre, Photo by Eric Branco. Courtesy of Sundance Institute
29

Housen’s first feature as the principal editor was
a film called Renaissance (1994), starring Richard
Hatch. Another feature, Dream for an Insomniac
(1996) with Jennifer Aniston, soon followed when
she was hired to do a recut. But it was the romantic
comedy Adam and Steve (2005) that was the first film
she edited to “really get play.” The writer/director Craig
Chester was a friend of hers. “Back then, that’s how
it happened,” she comments. “You had a bunch of
friends and they would say, ‘Let’s put on a show.’”
Other films followed, including the Japanese
film Memoirs of a Teenage Amnesiac (2010), as well
as documentaries like Evolution of a Criminal (2014),
about a 15-year-old bank robber, and Monster in the
Mind (2016), a film about Alzheimer’s and dementia.
But after 20 years in LA, Housen decided to move to
New York City to be near friends and family. However,
like many who work in show business, she leads a bi-
coastal life. “My feet are in New York, but my head is
in LA,” she says.
She got the call for Clemency through her
agent and, after promising meetings with producer WALDEMAR CENTENO
Bronwyn Cornelius and director Chinonye Chukwu, Editor of Big Time Adolescence
she was hired as the editor. According to Housen,
the crew knew that Clemency was an important film
while they were working on it because it discusses
the death penalty and the way that law personally
W aldemar Centeno, the editor of Big Time
Adolescence, exudes a palpable sense of pride
in his Puerto Rican heritage, even though he grew up
Waldemar
Centeno.
Photo by
Martin Cohen
affects the prison warden, whose character is played around the Washington, DC area. His father moved
by Alfre Woodard. Largely about the internal struggle the family from the US territory to the mainland to
of that character, the film also deals with the ethics pursue a PhD at Michigan State University and then
surrounding lethal injection. went to work for the government in Washington.
Clemency was cut on Adobe Premiere. “I love Centeno frequently travels back to Puerto Rico,
Premiere, but I came up learning on Avid,” says however, having recently returned from a visit over
Housen. “The vertical integration of the suite in the holidays
Premiere is incredible. Whether it’s titling or visual He attended the University of Michigan,
effects, it’s really seamless.” choosing a double major in film studies and English.
Upon learning that Clemency had won the Grand
Jury Prize at Sundance, Housen tells CineMontage, “It Big Time Adolescence. American High/LD Entertainment
was such a fantastic surprise! I received a text
around midnight on Saturday from an editor
friend in London who had seen the press
release and sent it to me. We had seen a little
tweeting here and there during the week
about Alfre Woodard’s performance, but I
had no idea we would win the prize. Such a
huge honor and so deserved by our writer/
director and the team. For me, it’s a dream
come true: to edit a Sundance-winning
independent film.”
30
CineMontage_2019-Q1-4b.indd 30 2/13/19 3:48 PM

While there, he enjoyed courses in comedy and was More than a simple comedy, Big Time Adolescence is
introduced to classics of American comedic cinema something of a coming-of-age story in which a young teenager
by rib-tickling funny-folk like the Marx Brothers, (Griffin Gluck) is forced to face the reality that his older, destructive
Jerry Lewis, Woody Allen, Mae West and Mel best friend (Pete Davidson) is not as cool as he thinks he is, nor
Brooks. He explains that as a Puerto Rican kid, he worth emulating. Centeno was present in Syracuse during filming,
didn’t grow up with those films so he was thrilled to which allowed him to visit the set every day. After filming, he
discover them in school. returned to LA with his editor’s cut completed and began working
After graduating, Centeno moved out to Los intensively with Orley on the final cut.
Angeles and began working as an editor, a role Big Time Adolescence was cut on Avid’s Media Composer,
he sees akin to the “engineer” of a film. In LA, he and Centeno confesses that he’s a fan of its scripter program
met Zack Arnold, ACE, an established editor also capabilities. However, he is equally comfortable working on other
from the University of Michigan, who helped show platforms, including Adobe Premiere Pro, noting its ease of use
the young graduate the tools of the trade: cutting and accessibility, and that he has used it for other projects. The
trailers, behind-the-scenes and scripted content. editor is not afraid of using either platform. “Each program has its
One thing led to another, and at the age of 25 own strengths,” he attests.
Centeno found himself cutting his first feature, a Discovering that Big Time Adolesence made the cut for
D-level horror film entitled Jack the Reaper (2011). Sundance, Centeno admits that he cried when he got the news.
That led him to become principal editor of the It hasn’t exactly been smooth sailing all the time being a first-
independent character drama Battle Scars (2015). generation Puerto Rican trying to make it in the film industry, he
However, it wasn’t until his roommate, writer confides, adding, “To get Sundance recognition means a lot.”
and fellow University of Michigan alum Aaron
Kaczander introduced him to prolific comedy editor
Jonathan Corn was Centeno able to get to work on
comedy. Corn, who edited Curb Your Enthusiasm
(2000-present), had recently completed the
pilot of the soon-to-be popular ABC sitcom
The Goldbergs (2013-present) and was looking
for an assistant to go to series with him.
On their first conversation, Centeno and
Corn discovered they both grew up in the
same town in Maryland — and Corn hired
him on the spot. It was Centeno’s first Guild job.
After two seasons on that series, he was allowed to
practice editing episodes of the show and took that
experience onto the series Baskets (2016-present)
and Grandfathered (2015-2016), where he assisted
until he was bumped up to editor on Disney’s Walk
the Prank (2016-2018) and the YouTube Red film
Ghostmates (2016).
His passion for scripted comedy continued
as Centeno moved onto other shows such as Mr.
Student Body President (2016-2018) and Play by Play
(2017-present), both set in high school. His work
on those series caught the eye of Will Phelps, a
producer for the new production company American KENT KINCANNON
High, which produces movies with a high school Editor of Before You Know It
backdrop. The company purchased a real high
school in Syracuse, New York and turned it into a
full-fledged movie studio.
Ambitiously, American High has made
L ike Centeno, Kent Kincannon loves comedy,
which made him a natural fit to be the editor
of Before You Know It (fka Stupid Happy), which
Kent
Kincannon.
Photo by
31
Martin
five movies in 2018, one of which was Big Time concerns a pair of sisters who discover that their Cohen
Adolescence, written and directed by Jason Orley. mother, presumed dead, is still alive. It was directed
While Orley is a first-time director, he has a by Hannah Pearl Utt, who stars in the film alongside
background in comedy, having worked as an actor Jen Tullock and a cast including Mandy Patinkin,
for director Nancy Meyers. Judith Light and Alec Baldwin. In addition, Utt also

F
co-wrote it with Tullock.
Born in a small town of
4,000 residents that is located an
hour south of Houston (where
his mother was and still is the
mayor), Kincannon recalls having
an early fascination with video. He
remembers, as a boy, begging his
mother to buy him a Snappy, an
early device that captured 320x240
video stills through an RCA port.
Crude by today’s standards, it was
his first taste of image-making.
Kincannon studied film and
English at the University of Texas in
Austin but took very few production
classes. Instead, he chose a variety
of classes on film history including
Hollywood in the Thirties and
Post-War Japanese Cinema, as well
as screenwriting courses. After
graduating, he stuck around for a
Before You Know It. Courtesy of Sundance Institute
while in Austin, which he liked but found it hard
to make a career there right out of college. So when
some friends of his went to New York to study sketch for Saturday Night Live (1975-present). In 2017,
comedy and improv, he decided to join them. Kincannon edited Briganti’s first feature, Big Brother
In New York, he became involved with the Volcano. One of the film’s leads was George Basil,
Upright Citizens Brigade (UCB) Theatre, which hosts who introduced the editor to Utt. They became
improv, sketch and stand-up and conducts comedy friends after Kincannon helped her with a short film
classes, where he learned the art and technique of project.
long form improv. Soon, he began helping UCB In September, she called and asked him to be
members put their sketches to video and was later the editor of Before You Know It. However, he was
added to two UCB sketch video teams. Before long, also being asked to edit several new episodes of
Kincannon got an offer to work at College Humor, a Adam Ruins Everything. “I had to turn down one,”
website that features daily original humor videos and Kincannon relates. “Everything sounded good about
articles. While he enjoyed working in their New York the movie: Sundance was interested, it had Mandy
offices, eventually the company decided to move to Patinkin, Alec Baldwin, all this stuff…” His choice
LA, and he moved with it. was obvious.
One of College Humor’s properties, Adam According to Kincannon, he didn’t understand
Ruins Everything (2015-present), was picked up by how complex the character of Rachel (Utt) could be.
truTV. When the pilot became a series, it marked “Because Hannah was the director/writer/star, she
Kincannon’s transition from the web to television. was actually doing different versions of the movie
That is also when he joined the Editors Guild. in different takes,” he explains. “She was always
Eventually, Kincannon met actress/writer giving herself options.” The result was a process of
Rachel Bloom, which led to his editing several discovery in the editing suite. “It was amazing to
episodes of her show, Crazy Ex-Girlfriend me,” he says.
(2015-present). “That was the hardest job I ever had, Kincannon cut the film on Adobe Premiere. “I
but I learned a lot from it,” he concedes. Soon after, really like Premiere; it all works great,” he says. “I’m
he got a call for another television project, Angie just really proud of Before You Know It. And I am
32 Tribeca (2016-present), a comedy created on TBS pumped to be part of it.” f
that “turned out to be the best job I ever had,” he
says. “I got to work at Universal Studios every day
and felt like a king. It’s a great show.”
One of his close friends from College Humor
was writer and director Paul Briganti who directs

From Dailies To Oscar Nominations ®
Oscar-nominated editors discuss the art of editing
American Cinema Editors Educational Center presents
Saturday, February 23, 2019

American Cinematheque at the Egyptian Theatre, Hollywood
Doors open at 9:30am / The event begins at 10:30am
To RSVP for the event or for more information visit our website at www.americancinemaeditors.org
No admission fee. Seating is on a first-come, first-served basis.

Oscar’s
Digital Effects
Master
Technical Director Kenneth Shapiro Works His
Magic on Hollywood’s Biggest Awards Show
by Laura Almo • portraits by Wm. Stetz
W hen the curtain rises on “Hollywood’s Biggest Night,” which it will again
on Sunday, February 24 this year, the global audience tunes in to watch
the Academy Awards live. People are eager to see the stars, the fashion, the
elegance, the glitter and the gold in real time.
A big part of this ritual is, of course, to watch the presentation of the
awards, from the ceremonial “Here are the nominees for…” to the moment
when the presenter says, “And the Oscar goes to…” Be it Best Picture, Actor in a
Supporting Role, Costume Design, Sound Mixing, Animated Short — or any of
the 24 categories — millions of viewers around the world will simultaneously
see the face of each of the nominees in a little box. Viewers see the smiles and
the nerves, the exaltation and the reactions, and of course the applause, as each
nominee is named and then the winner is announced.
While the television audience is focused on the competition, technical
director Kenneth Shapiro is concentrating on making sure those little boxes —
and myriad other effects — go off without a hitch.
When everything works perfectly, what goes on behind the scenes at
the Oscar ceremony remains invisible to viewers. These seemingly simple yet
iconic moments are the work of the effects technical director and, for many
Oscar broadcasts over the past three decades (20 to be exact), Shapiro has been
responsible for the effects that are so much a part of the Academy Awards show.
To put it in perspective, this TD began working on the show in 1990 (the 62nd),
the same year Billy Crystal hosted his first Oscar show. (This year is the 91st
awards ceremony.)
Shapiro builds the effects that are used throughout the show. Last year,
when actresses Jodi Foster and Jennifer Lawrence were on stage presenting
the Oscar for Best Performance by an Actress in a Leading Role (to Frances
McDormand, in case you forgot), Shapiro was making sure the video effects
that he created prior to the show were working and that the camera people had
the correct shots and framing. “It’s all about seeing the celebrity faces as big as
34 possible so that the viewer at home can see their reactions to the win or the loss,”
he explains.
Over the years, as the Oscar shows have become more ambitious, producers
and directors want to utilize different shapes and effects. In the past it, was
simply squares but more recently it’s become video walls and complex shapes.
“For the last two years, the effects design was a parallelogram that was angled,”

35

recounts Shapiro. “And director Glenn Weiss wanted to go from this angled look
to a full frame with the box blowing up full-screen. Because of the shape and
angle, the cameramen had to frame their shots looser so they wouldn’t cut off
the heads.”
Digital video effects (DVE) were always part of the technical director’s job.
But as the number of cameras being used grew from 10 to now over 20, plus
the addition of more and more LED video walls and other signals needed to be
routed and sourced during busy sequences, it became an ever-increasing task
for one technical director to stay focused on the main show. “I started to help the
main technical director as the complexity of the video signals needed routing
and the video effects grew and evolved into another technical directing role,”
Shapiro says. “You’re performing similar tasks as the other technical director.
You’re sourcing and controlling content, you’re cutting cameras on the air and
you’re doing live-editing on the director’s cue.”
At the Academy Awards, there are now three technical directors working
in different zones: the screens, the effects and the main show. Working in
collaboration, the trio takes the creative ideas from the show’s director and
executes them in a one-time live situation. Eric Becker, the main show technical
director, is responsible for all the camera cutting, keying and playback elements,
while John Pritchett, the screens technical director, focuses on all the feeds going
to the video walls, set monitors and projection feeds. For his part, Shapiro, who
has worked the show the longest, creates the multi-camera digital video effects
boxes mostly used for the nominee categories or special sequences.
A photo from 1992, when

Kenneth Shapiro was the
technical director for the
television series Roc, which
was broadcast live one year
on Fox. Pictured from left,
are associate director Debbie
Palacio, director Stan Lathan
and Shapiro. It was part of a
segment that Entertainment
Tonight aired on the historic
nature of the show.
Oscar TDs are a close-knit group. For many years, Shapiro worked the show
36 with John B. Field (the primary technical director for the main show), Rick
Edwards and Allan Wells, whose fortes became coordinating the screen feeds
going out to the stage. More recently, Becker, Pritchett and Iqbal Hans have
come into the fold.
A Chicago native, Shapiro grew up in the television and live TV world. His
father was a technical supervisor for WBBM, the CBS-owned-and-operated

station in Chicago. In high school, he was involved in the school radio station, Kenneth Shapiro, right, with
where he was a production manager and had his own show. fellow technical director John
After graduating, he moved to Colorado to pursue his dream of becoming B. Field in a Denali television
production truck working on
a professional skier. When he realized that wasn’t in the cards, he returned to the 80th Oscars broadcast
Illinois and enrolled at Southern Illinois University Carbondale. During his first in 2008.
year, Shapiro started working weekends for his father’s company. It was after Photo by Gregory Schwartz
learning how to use a new slow-motion instant replay machine that Shapiro
started traveling to work on sports events and variety television.
Shapiro worked on the national broadcasts of the World Football League
and met the crew, including Gene Crowe, who went on to become one of the top
technical directors in Los Angeles. “It was a tremendous group of people who
were the cutting edge of freelance live television in the mid-’70s, and that gave
me a lot of opportunity,” he recalls.
While in California for a game, he visited another show at Pepperdine
University in Malibu and struck up a conversation with the crew working in the
VTE (Video Tape Enterprises) broadcast truck. When the technical director
learned that Shapiro knew how to operate and maintain the new slow-motion/
instant replay disc, he asked if he wanted a job. “And it was like, BAM — I’m
there,” Shapiro remembers. “I’m done with school. I’m moving to California. And
there was no turning back.”
Shapiro traveled to work on sports and specials. In 1984, he came off the
road and took a studio job (as a videotape operator/editor) at Entertainment
Tonight (1981-present). It was an opportunity to learn new equipment — and 37
also a turning point in his career.
“I had a fascination to learn the new Ampex ADO Digital Effects System
(the newest DVE device at the time) because ET had such high demand for
constant effects,” he relates. “They wanted a lot of pizzazz. They wanted lots of
effects transitions. Different DVE boxes were being utilized for live shows and it

was all about what it can do, how quickly can we get it done, and what’s new/different about Kenneth Shapiro in the Denali
it?” As part of the Miss Universe team, Shapiro would create nearly 200 effects during both television production truck from which
he will be technical directing the effects
pre-production editing and the live show using different DVE equipment.
for this year’s Oscars telecast.
Any chance Shapiro got, he would learn the new equipment/switchers and video effect
boxes. He devised the “page turn” effect, which was used for many years on ET and was key Opposite, top: Storyboards Kenneth
to his effects training. When he started working on awards shows and specials (Miss Universe Shapiro created for the 3D “slab” video
Pageant, Emmy Awards, Golden Globe Awards, American Music Awards, etc.), he pretty quickly effects to be used for the 65th Oscars
in 1993.
showed producers/directors that he had the chops to deliver the types of effects they were
envisioning. Opposite, bottom: Pencil drawing
designs by Kenneth Shapiro for the
OSCAR BOUND effects to be used on the 79th Oscars
In 1990, Shapiro’s technical prowess landed him an opportunity to work on the Oscars. The in 2007.
director was Jeff Margolis, with whom Shapiro had worked on the AMA Awards. “He saw that I
could make that box perform, and when he had the opportunity to bring me on to the Oscars, he
jumped at it.”
Tasked with trying to bring new visual effects to the Oscar broadcast, the TD remembers,
38 “When I got to the Oscars, it was another giant leap. The director wanted to explore the next
level of video effects as well as incorporate elements of the production design into the look of
the video effects.”
Since he first began working on the Oscars in the ’90s, shows have gotten bigger and
more complex, costs have increased and digital technologies have changed the way he works.
Shapiro observes that building the effects and doing setup for the show takes less time than

in the analog days. “The
effects are one of first things
we rehearse on camera,” he
explains. “The technical
setup takes a couple of
days. That time used to be
consumed with installing all
the equipment and getting
all the sourcing worked
out and routed correctly.
Digital technology changed
everything. The technical
setup now goes much faster.
“The engineering team
for the Oscars is amazing,”
he continues. “There’s a lot
of planning and attention
to detail. There’s a giant
infrastructure for the show
and the effects are just one
element.”
But some things haven’t
changed too much, according
to the technical director, who stresses that
rehearsal is still crucial to test everything. So
is the chance to run through the show with
the camera people using stand-ins for the
nominees, and to double-check that the right
name comes up with the right face.
From Shapiro’s vantage point, live shows
like the Oscars are about anticipating the
points of disaster. For example, a sequence
starts and one of the nominees is missing.
This is something that has happened
m which numerous times over the years. “Maybe the
he effects
nominee is a no-show or in the bathroom,” he
posits. “The bottom line is that they are not
nneth on camera. What do we do? Do we drop all
b” video the effects? Do we move on and stay with the
Oscars package?”
He recalled a near disaster with a
ing nominee effect at one of the Oscar telecasts on
r the which he worked. Shapiro had built a complex
Oscars 3D “slab” video effect using multiple videotape
machines, electronic graphics, numerous keys
and still-store slides that on-cue would flip
around to reveal the live-nominee camera in
the audience before flipping around to the
next nominee clip.
“When we started into the effect 39
sequence, one of the camera people got on the PL [private line intercom] and
said that the nominee was not in his seat,” he reveals. “At that time, we only had
no-show photos of nominees we knew were not coming to the show. I realized
that we did not have a photo of the missing nominee to substitute in place of
the live camera. I had planned for a ‘bailout’ possibility but had not rehearsed

the procedure. It made my heart triple in speed to try to figure out how to get around it.” Even
though Shapiro was manually sourcing the inputs during the sequence, at the last second he
was able to jump to the next videotape, bypass the live camera and advance to the next key
frame to get back into the sequence.
“Now we try to make sure that we’ve anticipated every problem,” he adds. “We have a
photo backup just in case they’re supposed to be there but didn’t show up. We try to have
backup plans for everything.”
For Shapiro, a self-proclaimed adrenaline junkie, being a technical director for live TV
suits him well. Whether it is making sure all the cameras have their shots framed correctly or
that the wrong camera is not cut to, he knows that the stakes are high when there is only one
chance to do things perfectly.
“Technical directors
are expected to be 100
percent all the time,”
Shapiro maintains.
“There’s no ‘Fix-It-in-
Post.’ The amount of
adrenaline that gets
pumped as we go on
air is a feeling I’ve
always loved. I love that
high-stress, short-term
pressure, when you’ve
got one chance to do it
right.
“It’s just like skiing
down a mountain,” he
continues, harkening
back to his original
career dream. “You
don’t want to make any
mistakes. You don’t want to hit a tree. You want to get all the way down and feel great about it.” Kenneth Shapiro outside the
In the early-to-mid-2000s, Shapiro directed 19 episodes of the sitcom Everyone Loves Denali truck he’ll be working
in on Oscar night.
Raymond (1996-2005). Since then he has also gone on to direct an extensive array of televised
classical music and operas, as well as the documentary Great Voices Sing John Denver (2013), in
which opera singers perform songs from the singer/songwriter’s catalogue. “After that, it was
nice for me to be able to come back into the live television world,” he offers.
As for his best day at the Academy Awards, Shapiro says it was doing the Oscars with Crystal
the first time they both worked on the show. “Not only is Billy a great comedian, he is also an
extraordinary entertainer,” the TD recounts. “He ended his opening monologue with a humorous
short medley about the Best Picture nominees. And I was tasked with creating video effects
during his medley performance.”
Before Crystal’s rehearsal, he would briefly meet with the host to describe the director’s
framing of the camera and where the effects were entering and exiting the picture around him.
“Billy was very interested in where his eye line should be,” Shapiro says. “Then we would record a
rehearsal and I would follow the script and take my cues from him. After each rehearsal, we would
watch the playback and make adjustments to the effects to coincide with his movements. By the
third time through, the performance and effects blended perfectly. It’s a thrill when something
complicated appears natural and gets the desired reaction from the audience.”
40 It has been nearly 30 years since Shapiro’s first Academy Awards. To what does this multi-
hyphenate attribute his longevity working with the Oscars? “Luck,” he replies. “That and my
continued excitement about the job at hand. It’s the passion, the rush and a great group of people.
There’s a lot of clout to the show and I’m humbled to have been a part of it for so many years.” f

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DUCK DYNASTY
Editing the Fowl Play of
Huey, Dewey, Louie and Company
by Debra Kaufman • portraits by Christopher Fragapane

DuckTales. ©Disney
Enterprises, Inc.
L ongtime classic Disney character Donald Duck’s mischievous
nephews Huey, Dewey and Louie made their very first appearance
82 years ago in a February 1937 Donald Duck Sunday newspaper
Opposite: Barbara
Ann Duffy, left, Mike
Williamson and
Jasmine Bocz.
comic strip (only three years after Donald himself was created).
By October of that year, the triplets had their own strip, Donald’s
Nephews, and six months later, in April 1938, the three ducklets made
their animated debut in a cartoon short of the same name.
The characters endured, in print and on screen, throughout
the decades. Half a century after their creation, they got their
42 own television series, DuckTales (1987-1992). This was followed
a few years later by another animated series, Quack Pack (1996),
in which they were joined by their exasperated uncle Donald and
ultra-rich grand-uncle Scrooge McDuck. >>>

43

And then, when the characters turned 80, Really Big Movie (2004). It was her experience
Disney rebooted DuckTales 30 years after the with that film, as well as the four summers
original series. The reboot includes many hen interning at Disney that cemented her desire
and drake characters, such as the triplet’s lady to work in animation. After some twists and
friend Webbigail “Webby” Vanderquack and turns, she became an assistant editor on the
chauffeur/pilot Launchpad McQuack, joining animated series TRON: Uprising (2012-2013).
them in their in misadventures in Duckberg. Duffy actually grew up in a family of
Produced by Disney Television
Animation, DuckTales premiered in
August 2017 with a 44-minute special
on the Disney Channel. The second
season premiered in October 2018 and a
new episode is set to air March 9.
Over at Disney Television
Animation in Glendale, it is fittingly
a trio of animation editors who are
hard at work on DuckTales: Jasmine
Bocz, Barbara Ann Duffy and Mike
Williamson (each works individually
on an episode) — along with assistant
editor Susan Odjakjian. Here are their
origin stories:
Becoming an animation editor
usually happens one of two ways:
either falling in love with animation
at an early age and finding a path to
fulfill that dream, or falling into it by
serendipity and finding it a comfortable
home.
Bocz reveals that she belongs
in the former category. As a child
in the 1980s, she was obsessed with
the original DuckTales on TV. “I taped the animators — both her parents worked for Jasmine Bocz.
episodes on VHS every day and rushed home Klasky Csupo — but after film school, she
to watch them,” she recalls. “I fell in love with intended to pursue a career in live-action
the craft of animation and started to teach editing. “As fate would have it, I was between
myself how to draw.” She learned to edit on jobs and a live-action assistant editor job
an Avid in high school and, when she went for a commercial came up at Klasky,” she
says. “I jumped on that and was an assistant
on a McDonald’s short called The Wacky
DuckTales’ editors Adventures of Ronald McDonald: Scared Silly
[1998].” Her animation credits include stints
say there is no single as an animatic editor on the TV series Rocket
Power (1999-2004) and As Told by Ginger
animation editing (2000-2006)
workflow, which differs Williamson is solidly in the second

category. He started out his editing career
by studio and by show. cutting live-action and transitioned from
assistant to editor working on scripted and
44 unscripted television, including Deadliest
to Pasadena’s ArtCenter College of Design to Catch: Dungeon Cove (2016). “I was a bit
study film, she interned for four summers with burned out on unscripted and found myself
Disney Television Animation. looking to move into another kind of editing,”
Upon graduation, one of her film teachers he concedes.
hired her to be his assistant editor on Clifford’s He ran into a friend who worked at Disney

Television Animation and got an interview each panel on the hand-drawn storyboard
on Pickle & Peanut (2015-2018). “That was to last on screen, according to Duffy. “For
a really fun show and my introduction to series animation, every scene was cut on an
animation editing,” Williamson acknowledges. even number, so that the animation would
“I’ve always been a fan of animated film and come back on twos,” she adds. “Directors used
television, and the opportunity to work with to time it out in their heads.” As nonlinear
so many gifted artists within the unique editing became commonplace and accepted,
animation pipeline made staying in animation so did animatics, although the earliest
editing a no-brainer for me.” animatics were “very rudimentary.”
For her part, Odjakjian was inspired to Animation editing today is a two-part
go into film editing at age 11 when she saw process: First the storyboards and recorded
an Olympics highlights montage reel. She dialogue are married and transformed into
says her entire career has been in animation, animatics. The actual animation takes place
starting in 1981 with Fat Albert and the Cosby overseas, and when the finished animation
Kids (1972-1985), followed by He-Man and returns, editors do final color, which includes
Masters of the Universe (1983-1985) and She-Ra hundreds of retakes per episode.
Princess of Power (1985-1987) at the legendary But, say DuckTales’ editors, there is no
animation studio Filmation. single animation editing workflow, which
She recounts how, in the early days of differs by studio and by show. “Although some
her career, she was the only woman in the stages of our pipeline remain consistent,
room. “The only reason I got into animation each production has to run some things
was because it was the only way I could get differently, for multiple reasons,” says Bocz.
into editing,” she admits, recalling that, at Williamson notes that, whereas editing is
Filmation “Editorial consisted of 20 guys and already a mystery to most moviegoers as an
me. I got in that way and never left. I finally invisible art form, “Animation editing is even
got in the union that way and have worked at more of a mystery — even within the editorial
eight animation houses in all.” profession.” Mike Williamson.
ANIMATIC FOR THE PEOPLE

Much like the transition from
Moviolas and flatbeds to nonlinear
editing systems, the process of
animation editing has transformed
significantly over the years. Duffy
recalls that when she started, she
photocopied hand-drawn storyboards.
“Animation editing has changed
drastically in the last 20 years,” she
stresses.
An entry-level job back then was a
digitizer who started out photocopying
hand-drawn storyboards to distribute
them. “To get them into animatic
form, we scanned them,” says Duffy.
“I remember using a camera to
photograph them and then put them
into Adobe Photoshop, where they were
cropped precisely, exported and then
imported into Adobe Premiere. It was
a painstaking job that would be given 45
to someone just starting out in the
industry — and that was me.”
In the completely pre-digital era, The animation process for DuckTales
animation directors would slug the board, starts with the raw dialogue tracks from the
indicating how many frames they wanted voiceover cast, broken into lines. “Building

the animatic is the most labor-intensive part a performance because the media is so DuckTales. ©Disney
of the process,” Williamson attests. “There raw. There’s an artistry in that, but it’s also Enterprises, Inc.
are no dailies with actors in a scene to start nebulous as to how it’s going to land — and
cutting immediately, like live action. I have nobody knows until it is put together.”
hundreds of separate lines of dialogue and DuckTales is a very script-driven show,
thousands of storyboard panels. I also get the according to Bocz. “The story is really fleshed
script and a PDF of the storyboards in order, out in the script phase and it creates a good
so I know how the story is flowing and where
the dialogue should be falling in the scene. It’s
a more naked feeling than in live action, where
you have the moving images and the sound
married from the get-go. In my timeline when
I’m starting an episode, it’s a void.
“It’s almost like writing a script when
you start with a blank page,” Williamson
continues. “Here, in the animatic stage, it
is up to me to marry all these images and
sounds and make a show out of it.” He
notes another thing lacking in animation
compared to live action. “In live action, you’ll
have a performance with interplay between guideline for the storyboard artist to plan out
characters, and comedic timing built in within the scenes,” she says. “The animatic phase
a master shot perhaps, and then you cut from is both complex and time-consuming. I’m
46 there,” he explains. building the boards from scratch and, for me,
“In animation, with the dialogue that’s where I feel I’m the most creative.”
performances all separated individually, the “I’m really pacing out the story and
editor decides the timing between every working closely with the director to see if the
single line of a character,” he adds. “There’s a jokes are playing and the action is working,”
tremendous amount of freedom in sculpting she adds. The most arduous aspect of creating

the animatic, according to Bocz, is to “take He adds that the DuckTales episodes
these storyboards from an incredible team are “pretty big,” capped off by a “completely
of artists and make sure I’m interpreting action-packed” third act. “The amount of
their meaning and their intention of how the panels we have is huge,” he says. “I approach it
scene should play out. I’m starting with zero by making sure this animated TV series plays
sound, zero music. We’re taking stills and as thrillingly as any feature film I’ve seen this
have to breathe life into them, which is both year — to cut aggressively when it needs to be
challenging and rewarding.” aggressive and delicate when it needs to be
Bocz considers animation editing a very delicate. The animatic stage is where the lion’s
specific skill. “Editing for me is a gut feeling; share of the storytelling gets shaped before
it isn’t that a walk cycle should be a certain the animation, which is why I cut in a way that
number of frames,” she says. “There are conveys the emotions and set pieces clearly.”
guidelines, of course, but more than anything
to me, it’s a sensibility. It’s something you feel MULTIPLE RETAKES
and you are either the kind of person who Once the directors and executives sign
gets it or you don’t. I visualize and know what off on the animatics, the actual animation is
I’ll react to when I cut it. I have to mentally created in Korea. When the animation returns,
imagine what these stills will look like when it’s the job of the editors to assist in identifying
fully animated to know how many
frames each one should be on screen
for. I can’t say there’s a science behind
it; it feels more intuitive.”
She notes that every editor has
her or his own process. “Mike works
panel by panel, where I might lay them
all out as a uniform number, start
watching and then pace it from there,”
Bocz explains. “I’m not in the room
with the other editors so I don’t know
their creative process. It’s personal
preference, but we all work very closely
with our directors to finalize the feel of
the actual animatic.”
She also points out that part of the
freedom of editing the animatic is the
ability to add to the storyboard. “If we
feel like we need a close-up or a wide
shot, we can decide to do that before
getting back the footage,” Bocz offers.
“I remember when I was cutting live
action, I’d wish I had a specific angle
and it was too bad that I had to make
do with what was shot. In animation,
you can see that before money is spent on the and even fixing a number of the hundreds of Barbara Ann Duffy.
animation.” retakes required for every episode. How the
For Williamson, the show’s narrative DuckTales team handles it is different than
style is an adventure. “There are stakes, but other shows, notes Duffy. “We’re a special team
it’s also lighthearted,” he says. “It’s a balance because we are the animatic editors and also
of making sure it’s funny but also ensuring the final picture editors,” she explains. “We’re
that the drama is legitimately landing. It’s one of a handful of teams at Disney TVA that’s 47
not a goofy show just for the younger kids but been able to do this successfully, and I don’t
one intended for the whole family to enjoy, so think this is typical. But it’s working really
there are dramatic moments for the older kids. well with us, which is a pleasure. We know
You have to make sure you respect the story, the animatic so well, it makes it smoother for
top-to-bottom, and tell it honestly.” cutting the final picture.”

This is where Odjakjian comes in. “I that’s locked, the director goes through it DuckTales. ©Disney
work on color rather than animatics,” she says, again, and he calls for hundreds of retakes. Enterprises, Inc.
noting how much she loves working on a 2D One two-episode show had almost 1,000
show with legacy characters. “When the final retakes.”
Retakes for a single episode can
take up to six weeks, as the overseas
animators and local technical
directors redo them, according to
the assistant editor. (Here, technical
directors refer to in-house artists who
revise scenes after they have returned
from the animation studios; these
are not to be confused with the Guild
classification of technical directors,
who work in live TV.) “When they
arrive, I cut them in, match the cut
and then review them,” Odjakjian
says. “If there are enough changes, I
send another locked version to the
dialogue, music and sound effects
editors.”
Hundreds of retakes for a single
Susan Odjakjian. 22-minute episode seems excessive,
48 but, says the editorial team, there
are many reasons for it. “Every time
Donald Duck is drawn, he has to stay
animation comes back in color months later, on model,” Odjakjian explains. Because so
I assemble the show and sync it up. Then the many animators are drawing Donald and his
editor and director cut it down to time. When nephews, inevitably many frames show them

with inconsistencies. Retakes also
include techniques “to improve the
look or the flow,” such as color pops
and frames that may be needed to
“hook up” one scene to the next.
When the animation returns to
the editors, “Sometimes it’s vastly
different interpretations of what I
knew the director wanted,” Duffy
points out. “It’s both a creative and
a mathematical formula that can
get reinterpreted every time it gets
into new hands, so the chances of
getting lost in translation is entirely
possible,” she says. Some retakes
involve creative issues — “such as
something we wanted originally but
changed our minds about — or it
can be a joke missing or continuity
errors.”
Consecutive scenes might be
assigned to different animators, so
when Scene A joins to Scene B, there
can be stylistic issues. In that case,
“We will sometimes call multiple
retakes for the same scene, resulting
in a process that goes on for several
months,” Duffy says. “Sometimes we
get retakes past the point we lock.
The show is very concerned about
quality for very good reasons. It’s
thoughtfully produced and it looks
beautiful.”
Once the editors match all
their color “take ones” to the scenes
that make up the animatic and do
a creative pass, they sit with the scratch. “Post-production [after the animation Huey, Dewey and
executive producer to cut their episodes down returns from the studios] is also nice, because Louie made their
screen debut in the
to time. “From there on out, it’s multiple I get to make sure it’s paced out the way I
Disney animated
retake meetings,” maintains Duffy. “We look feel is right and have the ability to enhance short Donald’s
at the retakes and decide if it needs to go individual shots so they look their best,” she Nephews (1938).
back overseas or done in-house. Once we explains. Walt Disney
have it as close as we can to final picture, For Williamson, “It’s creatively satisfying Pictures/Photofest
we have a playback session for final notes to see the episodes through, from animatic to
from everybody — from the art director to color to delivery. There’s an almost limitless
executives.” During the retake back-and-forth, ability to tell the story knowing we’re not tied
says Williamson, the composer is working to our footage yet. That’s the great plus of
on the score against the editor’s cut and the working on DuckTales.”
sound designer is also at work. On the television screen, the troublous
Those editors who dedicate themselves trio of Huey, Dewey and Louie might be 49
to animation enjoy the workflow that offers distressing Donald, but in their show’s cutting
creativity and the satisfaction of seeing the room at Disney TVA, the workload, challenges
project from the very beginning until the and demands on the editorial team are like…
very end. As Bocz noted earlier, she feels well, water off a duck’s back. f
most creative when building the boards from

Witch
Doctors
‘Sabrina’s’ Sound Crew Casts Its Spell
50

by Mel Lambert
portraits by Martin Cohen
I nspired by the Sabrina the Teenage

Witch comic book series from Archie
Comics — published intermittently
will be listed as Part Two. Part One of
the series received positive reviews, with
critics praising Shipka’s performance,
between 1971 and 2009, and turned as well as the premise, visuals and
into the eponymous television series direction of the show — dark, coming-
that aired 1996-2003, itself spawning of-age story in which Sabrina reconciles
a live-action and an animated TV her dual nature as a half-witch, half-
movie — Netflix’s Chilling Adventures mortal, while fighting evil forces that
of Sabrina is the latest chapter of the threaten her and her family. Netflix has
young character, whose first appearance already renewed the series for a second
was in the October 1962 issue of the season of 16 episodes, which also will be
Archie’s Madhouse comic series. split into two parts.
Fifty-eight years to the month Post-production sound for
of her first guest-starring role in the Chilling Adventures is done on Stage
comics, Sabrina returned with Chilling 5 at Technicolor at Paramount by
Adventures, a reboot that debuted on supervising sound editor/sound
the streaming service in October 2018. designer Edmond J. Coblentz, Jr.
A more gothic take on the characters and his team, working closely with
and settings found in the comic book or dialogue/music re-recording mixer
the original series, Chilling Adventures Vicki Lemar and sound effects re-
is produced by Warner Bros. Television. recording mixer Ken Kobett. As
The show has attracted a committed Coblentz tells it, “Executive producer
audience since the streaming of its first Roberto Aguirre-Sacasa and his co-
10 episodes, which focused on Sabrina producer, Amy Myrold, brought
Spellman (Kiernan Shipka) during her Sabrina to us at Technicolor. The
teenage years in the 1970s. This was process of securing their overall
followed by a stand-alone Christmas- visions for the soundtrack began with
themed episode. collaboration between the picture
The remaining nine episodes of the editors and myself.” >>>
first season will drop this April 5, and
Opposite: Ken Kobett,

left, Vicki Lemar and
Edmond J. Coblentz, Jr.
Right: Chilling
Adventures of Sabrina.
Netflix
51

“We put together the story visually and A 20-year post-production veteran, Coblentz
translate the specific sound designs and tone worked previously on Star (2016-present), Forever
expected for the final mix in 5.1,” he continues. (2018) and Knightfall (2017-persent). As well as
“We found that the first few episodes needed supervising Chilling Adventures, he also serves as
to be heard in a different scope because our the show’s co-sound designer. “I’m lucky to have
showrunner/writer/creator wanted to hear the sound designer Stuart Lloyd Martin at the helm,”
dialogue loud and present. To accomplish a Coblentz says. “With over 20 years of experience,
successful and pleasing playback, we switched Stuart has the precise taste and technical style to
to stereo Left/Right, then back to 5.1 to make successfully collaborate with Ken Kobett. We use
adjustments.” over 100 tracks peppering in between dialogue
and music. My role of sound designer is simply to
add colors of sound in the mix to complement our
music and design.”
Dialogue for Part 1 was cut at Technicolor by
Patrick Hogan, with Jane Boegel handling Part 2.
“Production dialogue offers its own challenges,”
Coblentz attests. “Almost every interior has a
fireplace, because those visuals are very important
for the décor of the show’s houses. The technical
effects to create large, blazing fires usually are
provided by gas lines that can create loud hissing
noises [which are removed using a Sonic Studio
NoNOISE plug-in]. “Of course, what we cannot
save in production we replace with ADR; we work
with the actors, mostly via ISDN since they are on
set in Vancouver.”
Foley is a “major player to our sonic build,”
adds the sound supervisor. “The team [headed
by Foley editor/mixer Antony Zeller, CAS, MPSE]
is responsible for covering all principal steps
and movements, and then a pass of props. We
will edit footsteps and props to sync up perfectly
with the picture and production elements. We
are lucky to have Robin Whittaker as our music
editor; she has an extensive résumé working on
Edmond J. To break down sound editorial assignments big-budget features and television. Her music
Coblentz, Jr. before they were turned over to the show’s tracks are prepared for our mixer with direction
dialogue, ADR, effects and Foley editors, each and versatility.”
episode was first spotted with the producer and The sound team’s toughest hurdle for
picture editor of that episode. “This is important Chilling Adventures is the sound effects build,
because we form the acoustic draft of sound which requires extreme dramatic control and
effects and music against our dialogue tracks,” design of multiple mono and stereo tracks,
Coblentz explains. “Production dialogue is edited according to Coblentz. “Stuart is also our key
and ADR added when needed. Since our show is a effects editor,” he says. “In order to get through a
collaboration of highly talented artists, that draft 55-to-60-minute show in a single 12-hour shift, his
becomes similar to musicians writing a song. ability to prepare such large sessions is essential
“At the end, our collaboration becomes for our effects mixer, who receives 40 tracks of
very important for the final presentation, like a effects, 16 of sound design, 48 of backgrounds and
well-written tune,” the supervisor adds. “In terms 12 of Foley.” The elements are grouped together by
52 of workflow, the editorial process for Sabrina is sound events on Avid Pro Tools timelines.
organized and presented like a feature film, with When the show reaches the re-recording
sound design playing a key part in the overall mixers, they develop an overall balance between
soundtrack. Our picture editors feed us the ideas dialogue, music, effects and Foley on the first
like a pencil drawing, and then we take the canvas day, according to Coblentz. “After the first couple
and begin painting the sound colors.” of episodes, Vicki and Ken learned what the

producer wanted in terms of style and sound A BALANCED MIX
levels. I create a master Pro Tools session of all “We didn’t have a lot of discussion prior to
those units, adding alts and missing elements, or mixing our first episode,” remembers Lemar,
editing missing material,” he explains. “Day two adding, “Edmond relayed to us the spotting notes
from Roberto and we were given
a sandbox to play in. There are
key moments where we stay
close to what everyone is used
to hearing in the picture editing
room, but we are able to support
and enhance all that. And it was
well received.”
The series represents a
fantasy drama that follows
the lead character as her 16th
birthday nears, and Sabrina must
choose between the witch world
of her family and the human
world of her friends. The pace of
the soundtrack must leave room
for high-impact sound as well as
Chilling Adventures of Sabrina. is a technical playback and then the producer’s quieter, more reflective scenes. And the exact time
Netflix playback. Both will have notes with regard to period has yet to be determined.
production, ADR, sound effects and design alts. “The year in which the series is set is a
I will edit what’s needed as we move through great question,” Lemar concedes. “The town of
our notes. That is also for fixes and the final mix, Greendale seems to be a time capsule. At the
with deliverables. Parts One and Two are very Spellman Sisters Mortuary they have record
consistent in style and levels; we try not to make players, tube radios, old black-and-white TVs
Vicki Lemar. any changes to the established locations.” and a wall phone with a mallet-and-bell system
on top of the handset. Dr. Cerberus’ book store
houses a big jukebox, yet a very modern espresso/
cappuccino machine. But Sabrina’s boyfriend
drives an old truck and has a smart phone. From
a sound standpoint, we treat everything as it is
presented visually.”
Lemar continues: “As far as dynamic range
goes, the showrunner really likes everything to
play big and also loves the scare moments. Most
of the episodes are very dense, which makes it
challenging to make the big moments have an
impact. But we find ways to get it done!” she adds.
“The main discussions dealt with track count
and layout format,” Kobett remembers. “It was
important to have editorial keep sound design
on set tracks, separate from general hard effects
because the show has many big scare moments
that evolved over the course of several episodes.
Also, with only about 14 hours total to mix
episodes averaging 52 minutes, the schedule had
to be well laid out.” 53
Lemar and Kobett work at an Avid Euphonix
S5 digital console with 32 faders per side, each
handling 304 inputs and JBL 5000 Series audio
reference monitors. “Ken and I mostly work
together during the first pass,” she explains. “We’ll

roll through a scene listening to just the dialogue those areas I would introduce more ambience to
and music to get an idea of what the dialogue help mask the noise.”
sounds like, and what the music is doing. Because The mix team prints to a 5.0 dialogue stem
he’s set up to work in-the-box, Ken can jump off- and a 5.0 group stem, plus 5.1 effects, Foley and
line and get backgrounds in the ballpark while I background stems. “I have internal bussing for
do a pass or two on dialogue for that scene. On my my dialogue chains; outputs feed these two stems
music pass, he’ll jump back on-line and rough in on the master recorder,” Lemar explains. “I use
the hard effects or Foley and take another pass or a single 5.1 buss for music, although there have
two to finish up any loose ends. Then we move on been a couple of instances of singing, for which
to the next scene.” I’ll print the vocals to a separate 5.1-channel
stem. This means that the
international mix has the
flexibility to dub a foreign talent
singing, or to use the English
version.”
With dialogue panned
primarily into the center
channel, she uses the fronts and
surround channels mostly for
reverb. “I’ll pan dialogue left/
right for off-screen lines coming
from another room, or pan from
left/right to center if a character
is walking into frame — as long
as it doesn’t take the audience
out of the scene. There have
been some opportunities to fly
Chilling “I would love to have time for pre-dubs,” dialogue around the room during chants and
Adventures of Kobett laments. “We lock up together but have spells, which is always fun.”
Sabrina. Her main dialogue reverb is Audio Ease’s
the ability to un-hook Pro Tools playback via
Netflix
Avid Satellite and write automation off-line; I do Altiverb plug-in. “I use mono, stereo and 5.1
this constantly. I’ll preview levels, EQ and reverb output reverbs, depending on what the scene calls
settings while Vicki is rolling on dialogue. I write for,” she says. “I have about a half-dozen programs
the preview, jump back on line to lock up with the that I use regularly. I also use the console panners
scene and then mix fader levels.” to spread the music; there’s no concern about
On the dialogue/music side, Lemar uses a how it will fold down, which is great. And I use
Pro Tools template that accommodates 10 tracks Altiverb and Revibe II for music reverb.”
of group ADR, 10 tracks of principal ADR, nine To streamline and categorize the effects
tracks for production, one for production futz and build, Kobett and the lead effects editor discussed
two X tracks. “Any ADR alt tracks are left inactive track layout after the first few episodes had been
and hidden, where they can easily be dragged into mixed. “It was an easy task as Lloyd really does
active tracks for auditioning,” she explains. “For an outstanding job keeping things organized,”
this show, score stems fit very nicely into two sets Kobett says. “I had some personal preferences
of eight stereo tracks, A and B. Needle-drops are and there were elements that I knew we could cut
anywhere from one to four stereo tracks.” back — like fire options. For hard effects, I receive
“Music really sets the overall tone of the around 35 monos, 12 stereos and 10 design stereos.
show, while effects ground the dialogue and give Backgrounds are three sets of eight stereos and
ambience support,” Kobett offers. “The big scare eight monos per set. Foley is 12 mono tracks. I also
moments get to be really big on the effects side. carry a pair of 5.1 tracks for main title effects and
54 Roberto also likes it gory; the gushier the better. occasional pre-dubbed effects.”
The quieter moments, specifically when the actors “Effects generally live within music [until
whisper, are difficult due to noise. With a lot of the mix becomes intense],” Kobett adds. “There
practical fires, the gas hiss is quite pronounced; is always a battle for sonic real estate between
because Roberto did not want to add fire crackle effects and music; this show is no different. But
effects there was a ton of de-noising for Vicki. In we manage to play together nicely.” According

to the mixer, with discrete left and right rear have nothing but great choices.
surrounds for the master balance, the mix gets a “Sometimes, we choose to feature the
nice surround pocket when decoded to 5.1. “We effects a little more; sometimes music is really
have to be extra careful that the stereo mix folds propelling and commenting on the scene, and we
down clean,” he says. “Because Roberto likes to can use effects to support and supplement,” she
screen the show in stereo, the surround material continues. “It all depends upon what’s happening
is always checked to make sure it does not on screen. We do our initial pass in 5.1-channel
overload that mix. Like Vicki, my favorite reverb and, at our showrunner’s request, play back the
is Altiverb, which I use on hard effects, Foley and two-track left/right derived simultaneously from
backgrounds. I switch between stereo and 5.1 the 5.1. Usually there aren’t any surprises in the
outputs.” down mix. And since most of the playback notes
are minor level adjustments, we know what we do
COLLABORATION IS KING in the two-track will translate back to the 5.1.”
Lemar considers Kobett to be a collaborative Lemar relates that Netflix recently changed
mix partner. “We have very similar mixing styles, its audio delivery specifications to -27 dBFS on a
which really helps us be quick and efficient,” she dialogue-weighted scale, according to the ITU-R
offers. “We only have two days to get 50 to 65 BS.1770-1 algorithm. “Most network and cable
minutes of runtime mixed, played back and out shows measure overall loudness with a target of
the door. During our first pass of a scene, when -24 dBFS to ITU-R BS.1770-3,” she says. “We check
we’re running with just dialogue and music, Ken our levels after our technical playback during
is really focused on the story and how he can the morning of day two. If we need to make any
elevate it with his tracks.” adjustments, we can do that while addressing the
“Vicki and first round of notes. We then do a final check after
I teamed up the playback for our showrunner to make sure
last year, and we’re still in spec.”
I couldn’t be Most of the playback notes were to make
happier,” Kobett things louder, according to Lemar. “We had a note
confirms. “She recently to turn down a sting, and the showrunner
is fantastic with prefaced it with, ‘I can’t believe I’m actually going
dialogue noise to give this note.’ Roberto wants the dialogue to
reduction, pop and our mix to jump at the scare moments.
ADR matching If we get an audible reaction from him during
and music. As playback then we know we’ve done our jobs! Our
a mix team, mission is to make sure the dialogue stands out
personality and in the mix. There are lots of exterior scenes that
workflow are are quite noisy; it’s all about how much noise
really crucial to you can clean out without sacrificing clarity. Or
a harmonious maybe getting the dialogue to cut through when a
stage. And Eric tornado is ripping through town.”
Huzeo, our stage Reviewing his experience with Part 1 of
tech, is a crucial Chilling Adventures, Coblentz considers meeting
part of that team the show’s schedule to be the most daunting task.
dynamic. He is “Each episode is a mini-feature with running
first-in, last-out times between 55 and 65 minutes,” he says. “Our
and a constant timeline to turnover is 20 episodes, back-to-back.
positive force.” And Netflix has just ordered an additional 16 [for
In terms of the second season]. These timelines are normal in
Ken Kobett. on-stage negotiations between dialogue, music the primetime slots of 42-minute programs. But
and sound effects, “Whoever has the sharpest add more time to the story, and no commercials,
and loudest zings, bangs or booms wins,” Lemar and you have…streaming broadcast at its finest! 55
concedes. “Our effects editor does a really great “My editors, recordists and mixers all work
job of having all the big moments covered, under the highest levels of expectation,” he
because he doesn’t know what the final music will concludes. “We have developed a well-oiled
be doing. When we receive the music from our machine on the show that never ends!” Perhaps
incredibly talented composer, Adam Taylor, we Sabrina has cast a sonic spell on them as well. f

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TECH TIPS
Motion Capture for the Masses Figure 1: iPi Soft Motion

Capture is a markerless
iPi Soft Does Away with the MoCap Suit

motion capture
system that allows
you to capture human
performances and
by Joseph Herman want to integrate 3D characters into live-action shots apply them to 3D digital
M otion capture, or MoCap, is the technique of

capturing a human actor’s physical performance
and applying the captured data to a 3D computer-
alongside human actors (think motion pictures like
2009’s Avatar or 2001’s Planet of the Apes), then motion
capture is your best bet. James Cameron was, in fact,
characters.
generated character so that it moves in the same an early pioneer of using motion capture in feature
convincing, life-like manner. Unlike time-consuming films when he used it as early as Titanic (1997). Today,
3D computer animation, in which an animator must it’s used extensively in the motion picture industry for
manually manipulate the poses of a digital character’s visual effects.
skeletal rig (its underlying virtual armature), motion One problem with traditional motion capture,
capture allows you to capture the movement of a however, is the fact that motion capture systems are
character in real time. Computer animation, unlike often expensive and involved. Most of the time, they
motion capture, can take days or even weeks to require actors to wear complex sensor-laden suits.
accomplish.
So if motion capture is so fast, why not use it all LET’S GO MARKERLESS
the time? Why bother animating digital characters Several years ago, a company called iPi Soft, based
by hand at all? The answer to those questions lies in in Moscow, developed a motion capture system that
the kind of work you are doing. If you are looking for was totally markerless. In other words, to the great
stylized, exaggerated or cartoonish motion for your interest of many who work in animation and visual
characters — the kind of motion you would expect to effects, it was offering a new technology that didn’t 57
see in a Looney Tunes animation — you’ll get the best require an actor to wear any suit at all — or even
results by manually animating them. Just be prepared special clothing for that matter. Instead, the system
to spend lots of time doing so. That is what the art of analyzed the motion of the body and automatically
animation is all about. extracted the MoCap data from the motion. It also
However, if you want truly life-like movement, or had an option to work with depth sensors like the

2:35 pm
TECH TIPS
Microsoft Kinect or small, inexpensive video cameras capturing with iPi Soft was a two-step process. First, Figure 2: Real-time
tracking in Version
such as the Sony PlayStation3 Eye or the Logitech C922 record your performance. Then track it.
4.1 allows you to
(see Figure 1). While this method is effective, some users may immediately preview
I wanted to see how good iPi Soft Motion prefer to see a real-time preview of their characters the motion of the actor
Capture worked so I got my hands on the depth before and during the performance. The ability to track on your 3D character.
sensor configuration, consisting of two Kinects, and a 3D character in real time is important because you
downloaded iPi Soft’s software from its website: ipisoft. can immediately see what’s working and what’s not,
com. After jumping around and doing a little dancing, and hone the actor’s performance accordingly. You can
I fed the depth videos into iPi Soft to track my also check to see if the mesh is intersecting or colliding
movements and applied the results to a 3D character. with itself, or practice your moves before recording
iPi’s markerless motion capture worked as them.
promised, without the hassle or expense of a MoCap With version 4.1, that is now possible and it’s “an
suit. The era of “Motion Capture for the Masses” had important development milestone that users have
begun. been anticipating” according to Michael Nikonov, iPi
Soft founder and chief technology architect (whom
iPi SOFT GETS REAL (TIME) I had the pleasure of meeting not long ago in New
Recently, iPi Soft released version 4.1 of its York). “We’re excited about real-time tracking with
58 markerless MoCap system, and with it an important multiple depth sensors to obtain quality MoCap data
new feature for which users have been waiting a long easily and quickly without the need for multiple
time, something that has been available only in more recording, tracking and motion transfer iterations,”
costly systems: real-time tracking for multiple depth Nikonov says.
sensors (see Figure 2).
Previously, when using depth sensors, motion-

TECH TIPS
DEPTH SENSORS OR VIDEO CAMERAS
iPi Soft Motion Capture allows you to use multiple
depth sensors or video cameras (or both). For depth
sensors, iPi Soft supports such products as the Microsoft
Kinect, Orbbec3D and Intel RealSense. It will also
support the new Project Kinect for Azure (also known as
Kinect 4) when it is released. For video cameras, iPi Soft
Motion Capture supports web cameras such as the Sony
PlayStation3 Eye or action cameras such as GoPro.
Which one should you choose when motion
capturing with iPi Soft — depth sensors, web cameras or
action cameras? The truth is, depending on your needs,
each setup has its advantages and disadvantages. There
is no “one size fits all” answer.
The benefit to using depth sensors is that they are (for example, three ports for six cameras and four for Figure 3: The Microsoft
easier to set up and calibrate and require less space due eight). You’ll also need a fast hard drive, such as an Kinect 2 depth sensor.
to their wider angle of view. The minimum required SSD. In addition, while web cameras offer more space
space is 7x4 feet. That means you can set up a few depth for motion capture, they also need it. They require a
sensors in a confined space such as a small office, or minimum of 13x13 feet.
even your living room for that matter. Perhaps one of
the greatest benefits to using depth sensors is that the
new real-time tracking for live preview in version 4.1
works with them (see Figure 3). It also doesn’t matter
what color your clothes are.
While they can work in small spaces, a limitation to
using depth sensors is that their capture area is limited
to 7x7 feet. Thus, they are not your best choice if your
MoCap performance requires sweeping movements over
large areas. Depth sensors are also limited to a frame
rate of 30 fps. While that’s fine in many cases, video
cameras allow for faster frame rates, which can be useful
when tracking extremely fast motions. Also, they cannot
be used outdoors.
In the case of web cameras, such as the Sony
PlayStation3 Eye and the Logitech C922, iPi Soft Motion
Capture supports three to 16 cameras (see Figures 4 and
5). Compared to depth sensors, they allow for somewhat
better tracking and their ability to record at 60 fps may
avoid errors during very fast motions. Web cameras also
allow for a much larger capture area, up to 20x20 feet
(perfect for martial arts maneuvers or acrobatic dancers)
and, importantly, allow you to track three actors at the Like web cameras, you can use between three and Figure 4: The Sony
same time. 16 action cameras such as GoPro (see Figure 6). The PlayStation3 Eye
camera.
In addition, motion tracking with web cameras benefit to using action cameras is that you don’t need
can have less problems with bodily occlusion than external power when recording — only the camera’s
depth sensors, especially if you use more than six built-in batteries. That means you can capture your
cameras. They also allow you to do your motion motion in places where an electric outlet is nowhere to
capturing outdoors (but you should try to avoid direct be found. In fact, you don’t even need a computer. Action
sunlight). Web cameras are also inexpensive. A single cameras also have higher frame rates, such as 90 and even
Sony PlayStation3 Eye is a scant few bucks, so buying 120 fps, which is useful when doing very fast motion. 59
anywhere from three to 16 of them won’t cost much. For action cameras, in version 4.1 there is a
Setup and calibration, however, does take more new feature that lets you automatically synchronize
time than with depth sensors, and you must have a videos recorded based on flash detection. The new
computer with enough USB ports available — although algorithm detects flashes between separate videos and
you’ll only need half the number of ports as cameras synchronizes them automatically, greatly speeding

TECH TIPS
things up. Previously, you had to manually sync the
videos from the various cameras. The downside to
action cameras, however, is that they require more
effort to set up. But once you do, you’re good to go.
In summary, an iPi dual depth sensor
configuration is practical, easy to set up and tracks
many kinds of motions in a small space. It also takes
advantage of the new real-time preview. For those
who want to capture multiple actors, or need lots of
space and complex motions, web cameras would be
a better choice, though they require more learning in
the beginning. Configuring multiple action cameras
requires more setup, so they should be used if mobility
is your foremost requirement or if you plan to capture
extremely fast motion.
It should be noted that some users choose to use
both Kinect sensors and Sony PS3 Eye cameras at the
same time; the depth sensors are convenient for fast
prototyping as to check creative ideas.
CONCLUSION
iPi Soft’s markerless motion capture solution is
an easy and affordable way to create great looking and
Figure 5: The Logitech C922.
accurate motion capture without the expense and
complexity found in other, suit-based products. The
software also includes advanced algorithms for Jitter
Removal and Trajectory Filtering, both of which will
improve the quality of the motion. For those who wish
to track props and hands, iPi Soft Motion Capture
supports the use of motion controllers, such as the
PlayStation Move.
iPi Soft Motion Capture is available in an Express,
Basic or Pro edition. The Basic edition supports two
depth sensors as well as three to six RGB web or action
cameras, while the Pro edition supports up to four
depth sensors and 16 RGB cameras. Both versions
support real-time tracking for live feedback when
using depth sensors.
The Pro edition adds support for multiple persons
tracking, multiple video card support and batch
processing. The Basic version costs $695 for a perpetual
license, or you can rent it for $345 per year. Pro costs
$1,995 with a yearly rental of $995. The Express edition,
which only supports one depth sensor (probably too
limited for professional use) costs $195 with no yearly
rental option.
With wide applications in feature films, television
productions and shorts, iPi Motion Capture is a great way
to record motion capture performances. Whether you
60 are creating a dramatic sword fight between armor-clad
knights in an imaginative fantasy realm or a humorous
Figure 6: The GoPro Hero 5.
droid-like character for a science fiction TV series, iPi
Soft makes motion capture easy and affordable. More
information can be found on iPi Soft’s website
(www.ipisoft.com). f

P E T I T I O N F O R
EDITORS
RECOGNITION
T he American Cinema Editors Board of Directors

has been actively pursuing film festivals and
awards presentations, domestic and international,
• Sundance Film Festival
• Shanghai International Film Festival, China
• San Sebastian Film Festival, Spain
that do not currently recognize the category of Film • Byron Bay International Film Festival, Australia
Editing. The Motion Picture Editors Guild has joined • New York Film Critics Circle
with ACE in an unprecedented alliance to reach out • New York Film Critics Online
to editors and industry people around the world. • National Society of Film Critics
The organizations listed on the petition already We would like to thank the organizations that have
recognize cinematography and/or production design recently added the Film Editing category to their
in their annual awards presentations. Given the Annual Awards:
essential role film editors play in the creative process
of making a film, acknowledging them is long • Durban International Film Festival, South Africa
overdue. We would like to send that message in • New Orleans Film Festival
solidarity. Please join us as we continue the effort to • Tribeca Film Festival
elevate the perception of editors everywhere. • Washington DC Area Film Critics Association
• Film Independent – Spirit Awards
You can help by signing the petition to help get • Los Angeles Film Critics Association
recognition for film editors by asking these • Chicago Film Critics Association
organizations to add the Film Editing category to • Boston Film Festival
• The International Animated Film Society –
their annual awards:
Annie Awards
• Academy of Science Fiction, Fantasy & Horror –
Saturn Awards
Please sign our petition at:
www.EditorsPetition.com
Now endorsed by the Motion Picture Sound Editors, Art Directors Guild, Cinema Audio Society,
American Society of Cinematographers, Canadian Cinema Editors, and Guild of British Film and Television Editors
Committee for Creative Recognition
Editors Petition Ad
CineMontage Magazine 06/29/16
Trim = 8.5” x 10.875”
Bleed = 8.75” x 11.25”
CUT / PRINT
When the Film Industry Joined

the Gig Economy
Working in Hollywood: How the Studio System
Turned Creativity into Labor by Betsy A. McLane
by Ronny Regev
University of North Carolina Press, 2018
Paperback 273 pages $27.95
V irtually every working editor understands that
the job is defined as labor as well as creation,
craft and, sometimes, art. The Motion Picture Editors
ISBN # 9781469636504 Guild ensures that this labor is recognized with credits,
respected within the industry and compensated fairly,
and ensures that members are not abused by employers
nor left destitute in old age. This was not always the
case, as is well known, and MPEG continues to find it
necessary to fight for these rights today. Working in
Hollywood: How the Studio System Turned Creativity in
Labor explains not the rise of unionism in filmmaking,
but rather the confluence of many factors that made
unions necessary.
Ronny Regev, an assistant professor in the history
department at Hebrew University in Jerusalem, has
written a meticulously researched book that draws on
theories of industrial mass production as well as varied
accounts of the film business and studies of movies
and culture. She states: “Historians have paid much
attention to the ways in which culture has become an
industry and very little attention to how producers of
culture have become modern workers.” This distinction
may seem to put too fine a point on the subject — as
scholarly writing very often does — but for those in the
business, Working in Hollywood offers a fascinating
way to learn how artists and craftspeople came to be
regarded as workers on an assembly line, and the ways
that assembly line had to be different from those in an
auto plant or textile mill.
Working in Hollywood is a sincere and conscientious
research achievement. A bibliography would be useful,
but given that Regev footnotes hundreds of sources
in each of the six main chapters, it would be almost
overwhelming. In her introduction, the author says that
the history of Hollywood “lies mostly in carbon paper
sheets.” These memos and notes are analogous to the
way that today’s history is written in tweets and e-mails.
Fortunately for everyone, carbon copies last longer than
62 similar rants delivered electronically, and Regev has
scoured the best repositories of those papers.
The reader is treated to the precise words of many
Hollywood figures, thanks to the heroic preservation
and cataloging efforts of institutions such as the
Margaret Herrick Library at the Academy of Motion

CUT / PRINT
Picture Arts and Sciences, the Louis B. Mayer Library at but they also had to carry the studio’s own “look.” And
AFI, the Warner Bros. Archive at USC and the National editors could be completely isolated, often knowing
Archives, home to the records of the National Labor nothing about a project until they received dailies, and
Relations Board. To achieve her goals for this book, then creating cuts meant to please studio heads. Major
Regev had to spend thousands of hours sifting through directors could be involved in the editing, but run-of-
these materials. the-mill pictures were meant to be completed speedily
The authenticity of this primary research and to the specifications of the producer.
is matched by solid writing that is sophisticated The director had to have a combination of skills on
yet readable — if somewhat repetitive. Working set: the knowledge of lighting; the capabilities of the
in Hollywood is not a casual read. It demands camera; the placement of actors, scenery and props; the
concentration and a willingness to go beyond an understanding of the script and a good sense of story;
industry insider’s reaction, “Of course, I know that.” the ability to evoke performances from a variety of actors;
Although it may seem obvious that the director and a personal way of promoting overall harmony to keep
was in charge, and had some leeway on the set even shooting on time and on budget. Attempts to segment
under the most rigid studio regimes, Regev explains why various aspects of directing — such as what happened in
this was so, using the business’ economic framework. early sound films when a dialogue director was brought
Writers, actors, editors, cinematographers and others in for talking scenes, and another director for everything
were just as likely to be as creative as directors, but else — were failures. Perhaps not failures in making a
their job functions could be compartmentalized and good picture, but failures in making films cost-efficient.
interchanged. Paying one person to cover the many facets of directing
Scripts could be written by various writers — proved to make the most creative and economic sense.
sometimes working simultaneously or in succession. Regev reports that even Darryl F. Zanuck said, “On the
Actors were chosen by studio producers and given roles set, the director has 90 percent control.”
that fit their type or image. Costume designers could
work alone to create clothes that fit an actor or period, CONTINUED ON PAGE 70
63

LABOR MATTERS
Government Reopens But

New Shutdown Looms compiled by Jeff Burman The New York Times. His reprieve would give him three
S peaker of the House of Representives Nancy Pelosi (D-

CA) has prevailed.
President Donald Trump got no funding for his wall
weeks to continue to demand $5.7 billion for a barrier
along the southern border. Trump has renewed his threat
to declare a “national emergency” so he can bypass the
along the Mexican border. The 35-day standoff between funding standoff with Congress.
64 the White House and Democrats, who now hold a majority House Democrats have considered offering a larger
of seats in the House, yielded the President nothing. sum for “border security” but not for a wall. According to
After more than a month of bluster and threats Trump, if he hasn’t got a satisfactory deal by the time the
that began December 22, Trump declared the partial reprieve expires the day after Valentine’s Day, he could
government shutdown to be over on January 25, wrote then opt for a widely discredited “national emergency”
Nicholas Fandos, Sheryl Gay Stolberg and Peter Baker in option or return to another partial shutdown.

LABOR MATTERS
The shutdown forced 800,000 federal workers to be advocacy for more transparent oversight of charter schools.
sidelined without pay. Some 429,000 of these were forced “This is a historic victory for…educators, students and
to work with no pay, writes Rachel Layne for CBS News. parents,” said UTLA president Alex Caputo-Pearl. “Class- Actor, musician
and activist
The harm to the economy exceeds the billions of dollars in size reduction, limits on testing, and access to nurses, Steven Van
delayed salaries and the distress the delays caused. It did counselors and librarians will change our students’ lives Zandt joins
additional harm to the ability of the FBI and the US Coast forever. We won this victory through our unity, our action Los Angeles
Guard to do their jobs, and harms contractors and related and our shared sacrifice.” teachers and
businesses that will not have lost incomes repaid. In the About one in five Los Angeles students currently students on
the picket
days after the re-opening, many lawmakers considered attends charter schools, and charter school enrollment has line in front
preventing such a shutdown from happening again. kept growing in the past decade as overall enrollment in of Hamilton
The deal to re-open the government came on the the district has declined. The city now has more charter High School on
same day that the number of furloughed air traffic schools and more charter school students than any January 16.
controllers on duty at airports in several major cities fell other school system in the country, according to the Los Photo by
Richard Vogel/
below acceptable levels, wrote Patrick McGeehan in The Angeles Times. Most charter school employees are not Associated
New York Times. This caused a brief suspension of service. unionized, wrote Reilly. Press
Only days before, union leaders had issued a
dire warning about flight safety.
“It is unprecedented,” said the National
Air Traffic Controllers Association, the Air
Line Pilots Association and the Association of
Flight Attendants-CWA in a joint statement
about the shutdown. “In our risk averse
industry, we cannot even calculate the level
of risk currently at play, nor predict the point
at which the entire system will break.” Jacob
Rosenberg reported on this in Mother Jones.
Many unions and union members have
loudly opposed the shutdown and have done
so in large numbers. Several affected unions
have sued over withheld pay, including
air traffic controllers, and border and
customs agents who work for the Treasury
Department. On January 15, a federal judge
refused to force the government to pay
furloughed workers.
What happens after February 15 is anyone’s guess. THE RETURN OF THE STRIKE
Rank-and-file union members do not want to be used For years, many labor experts were ready to write the
again as pawns in this titanic battle. obituary for strikes in America, wrote Steven Greenhouse
in The American Prospect. In 2017, the number of major
LA TEACHERS STRIKE SETTLED strikes — those including more than 1,000 workers —
More than 30,000 Los Angeles teachers of the Los dropped to just seven in the private sector. Sadly, over the
Angeles Unified School District went on strike January 14, span of the past decade, there were on average just 13 major
writes Katie Reilly in Time magazine. The strike — the first strikes a year. That’s less than a sixth of the average annual
in 30 years — was due to failed negotiations over school number in the 1980s (83), and less than one-twentieth of
funding, pay raises, classroom sizes and staffing issues. the yearly average in the 1970s (288).
As they mobilized support, teachers also focused on the Things changed in 2018. We saw a startling surge of
growth of charter schools as a central issue in the nation’s strikes in both the private and public sectors. More than
second largest school district. 20,000 teachers and other school employees decided to
A tentative settlement was announced on January 22 walk out in West Virginia last February, followed by at least
and ratified later the same day. LAUSD teachers returned 20,000 more in Oklahoma. Probably the biggest teachers’ 65
to their classrooms January 23. strike was in Arizona, where more than 40,000 went on
According to the union, the United Teachers of Los strike. There were smaller but still significant teacher
Angeles (UTLA), the deal includes increases in school walkouts in Colorado, Kentucky and North Carolina.
funding and related staffing, increases in teacher funding, Last September, 6,000 hotel workers went on strike
decreases in class size and promises of broad-based against 26 Chicago hotels to demand year-round health

LABOR MATTERS
coverage for all hotel workers, added Greenhouse. In This year’s “mad-as-hell” strikers have a defiant
October, 7,700 workers boldly struck 23 Marriott hotels in message for those who hope that labor unions and worker
eight cities, including Boston, Detroit, Honolulu and San collective action will vanish from the face of the earth:
Francisco. Then, in November, 15,000 patient-care workers, “Sorry, but we workers — for the sake of fundamental
including radiology technicians, respiratory therapists fairness and to achieve basic gains — continue to need
and pharmacy workers, held a three-day strike against the unions and collective action. And strikes.”
University of California’s medical centers in Los Angeles,
San Francisco, San Diego, Irvine and Davis. 2018 BOX OFFICE SETS
And further, in one of the most startling work NEW RECORD
stoppages of all, an estimated 20,000 Google workers Growth at the US box office led to the biggest year
walked out November 1 to protest how the company in history worldwide, wrote Pamela McClintock in The
handled sexual harassment accusations against top Hollywood Reporter.
managers. “That was remarkable,” says labor historian Global box office revenue for 2018 reached an all-
Nelson Lichtenstein, delighted to see that even the time high of $41.7 billion, after a strong increase of almost
elite workers at one of the world’s more prominent tech seven percent at the North American box office. Domestic
companies recognize the effectiveness of collective worker revenue set a record at $11.9 billion, slipping past the
action. milestone set in 2016 ($11.4 billion), Comscore announced
In theory, the success of these recent strikes should in late December.
beget more strikes. But, warned Greenhouse, that might Disney commanded more than 26 percent of domestic
not happen, partly because many workers have lost the market share, and 17 percent of worldwide market share.
necessary “muscle memory” and partly because unions Revenue from Disney releases reached a combined $7.3
have been on the defensive for years as corporations, billion globally, the second-biggest level in history for any
courts, conservative billionaires and GOP lawmakers have Hollywood studio, behind the record $7.6 billion earned
coordinated efforts to cripple labor. by Disney in 2016.
Because helping others could one

day help you.
MPTF provides a safety net of social and

charitable support to the entertainment
community. We provide financial assistance,
referrals to community resources, and a host
of other services. Learn more at mptf.com
Make a meaningful donation today at

mptf.com/donate
66

LABOR MATTERS
BLACK DIRECTORS AT produced his own form of Brexit commentary in a political
ALL-TIME HIGH video ad, recalling his conflicted Gollum character from
USC’s Annenberg Inclusion Initiative released a The Lord of the Rings trilogy in the guise of British Prime
study of 2018’s 100 top-grossing films in January. The good Minister Theresa May, feuding with herself over her Brexit
news is the higher number of black directors represented, negotiations. “This is it: Our deal. We takes back control.
wrote Rebecca Sun in The Hollywood Reporter, with 16 of Money, borders, laws, blue passports,” Serkis growls
them. That new high shows the greatest number of black as May/Gollum. “No, it hurts the people. Makes them
filmmakers during the span of the report’s 12-year time poorer,” the conflicted, meek May/Smeagol replied.
frame. The next best turnout was eight — half of 2018’s Business has never been better for British film and
amount — in 2007. television, said Eric Fellner, the co-founder of Working
However, the less than
glowing news: Only one of the
16 black directors is female:
Ava DuVernay. The Wrinkle
in Time helmer had the year’s
highest-grossing movie directed
by a woman. She is still just one of
the seven women of color to direct
a top 100 movie since George W.
Bush was president.
As inclusive hiring practices
generally don’t happen in a
vacuum, the Annenberg Inclusion
Initiative also studied the gender
breakdown among executives,
finding a year-over-year increase
in female representation on
the boards of the seven major
media companies (21st Century
Fox, AT&T, Comcast, Lionsgate,
Sony, Walt Disney Company and The Top 10 black directors for 2018, top row, from left: Ryan Coogler (Black Panther), Steven Caple, Jr. (Creed II), Antoine
Viacom) to 25 percent, with half Fuqua (Equalizer 2), Ava DuVernay (A Wrinkle in Time), Malcolm Lee (Night School); second row: Peter Ramsey (Spider-
Man: Into the Spider-Verse), Gerard McMurray (The First Purge), Spike Lee (BlacKkKlansman), Tyler Perry (Acrimony)
of Viacom’s seats held by women. and Charles Stone III (Uncle Drew). Courtesy of blackfilm.com
Sony and Comcast had no women
among their top executives. Those
seven major media companies collectively employ only five
women of color as corporate directors. Title films. Since former Prime Minister Gordon Brown’s
Below the line, it’s easy to list the number of people introduction of film tax-relief incentives in 2006, Britain
by position who are not white men. Out of the 300-film has become one of the world’s movie centers. Production
sample covering 2016 to 2018, 42 men of color and four spending in the UK has doubled since 2009, to a
white women worked as directors of photography. Out of record £1.72 billion in 2016.
375 editors, 53 were white women, 16 were men of color Freedom of movement may be the biggest area
and five were women of color. of concern industry-wide, given the international
composition of UK film employees. The industry’s
BRITISH FILMMAKERS continued success depends on having the personnel to
BEMOAN BREXIT drive it — to crew the movies and work in areas like post-
“In England now, there is only the noise of production and visual effects, where up to 40 percent of
division,” intoned Ralph Fiennes mournfully at the workers are non-British.
European Film Awards in Seville, Spain in December, Visual effects employers will have to pay an additional
wrote Steve Rose in The Guardian. It sounded like a quote £1,500 or so per head for visas for its EU employees, 67
from Shakespeare, but everyone knew what Fiennes was estimates William Sargent, the chief executive and co-
talking about. His acceptance speech for his European founder of leading effects house Framestore. “It took 25
Achievement in World Cinema Award came on like a years of hard work to build us into a center of excellence,”
poignant adieu to Europe from the British film community. said Sargent. “We’re going to throw all that away.”f
A few days earlier, fellow Brit actor Andy Serkis

PASSAGES
RICHARD MARKS, ACE a film look too finished. He explained that he would use sound
PICTURE EDITOR effects, occasionally music, but not overdo it because it can have a
NOVEMBER 10, 1943 – DECEMBER 31, 2018 dangerous effect on how the first cut is viewed. If a scene plays for
the editor it’s ready to show, he felt. It doesn’t need music to carry it.
Revered film editor Richard Fellow editor Larry Jordan introduced Marks to the world
Marks, ACE, whose best known of digital editing when they were doing Riding in Cars with Boys
works include Serpico (1973), (2001). Though he loved working with film and the immediacy of
Apocalypse Now (1979) and handling it, he took to the new technology and learned to be as
You’ve Got Mail (1998), died on proficient on a computer as on a Moviola.
December 31. He was 75. Besides being a working film editor, Marks taught film editing
Over his five-decade at the UCLA Graduate Film School with his wife, Barbara. One of
career, Marks earned four Oscar their students was the Oscar-winning writer/director Alexander
nominations (Apocalypse Now, Payne. Marks described him as “a great student, smart, very
Terms of Endearment, 1983; performance sensitive, an elegant young man.”
Broadcast News, 1987; and As Marks leaves behind his wife Barbara, who was the great
Good as It Gets, 1997) and left love of his life. He was the father of Leslie; grandfather of three,
his mark on many classics such great-grandfather of five and brother of Elinor Ruda. He will be
as The Godfather: Part II (1974), remembered by the people he mentored and taught, and for his
The Last Tycoon (1976), Pennies kindness and great talent in the editing profession.
from Heaven (1981) and St. Elmo’s Fire (1985). Over the course of his Jack Tucker, ACE
career, he was also nominated four times for the ACE Eddie Award,
three times for the BAFTA Award and once for the Emmy Award. In GREGG RUDLOFF
2013, he was honored with the ACE Career Achievement Award. RE-RECORDING MIXER
Having earned a degree in English literature, Marks to NOVEMBER 2, 1955 – JANUARY 6, 2019
realized he needed a job, and a family friend found him an
entry-level position in the editing room for a company that made Gregg Rudloff was a true friend and colleague of both
commercials. In that environment, he began to see the magic that Local 700 and me personally. He cut a wide path through post-
editors created when they manipulated time and space. “I suspect production, working with many people. Everywhere he went, he
that what attracted me to editing was that you get to control what made friends.
happens on the screen,” said Marks. After a while he decided that While working at Compact
editing “fit my personality well.” Video (1982-1986), Gregg first
Success in an editing career depends as much on luck as on partnered with mixers John
talent. Many talented editors labor all their lives in obscurity and Reitz and Dave Campbell, first
never become well known. Marks was lucky. He managed to secure as their recordist and then in
a position on the sound crew, run by Alan Heim, ACE, on the 1968 1983 as their effects mixer. Early
film Rachel, Rachel, which was directed by Paul Newman and on, they worked on classics such
edited by Dede Allen, ACE. as Risky Business (1983). Not too
When Allen was scheduled to begin editing Alice’s Restaurant shabby a start for a career that
(1969) for Arthur Penn, she needed an assistant. Richard actively would span decades!
campaigned for the job and ultimately was hired. Over a short time, Gregg
Dede Allen was the greatest school for young film editors came to be the voice for this
that ever existed and Marks became one of “Dede’s Boys,” as her team. And they were a team like
assistants were called. She offered him the chance to cut scenes. no other, together for some 24
When they moved on to Little Big Man (1970), Dede gave him Photo by Bob Beresh
years. After Compact Video, the
credit as an associate editor. team spent time at several other
Marks became a full editor in 1972 with Parades (1972) and Bang facilities: Lionsgate, Disney and finally Warner Bros. After 2007,
the Drum Slowly (1973). He co-edited Serpico with Allen and then Dave retired and John and Gregg continued as a two-man team
joined Barry Malkin, ACE, and Peter Zinner to edit The Godfather: for a total of 35 years together. In 2015, Gregg made the move to
Part II. He began working with many talented directors such as Technicolor and was partnered with Scott Millan, CAS.
68 Francis Ford Coppola, Elia Kazan, Penny Marshall, James L. Brooks On my first day as chief engineer at Warner, the first place I
and Nora Ephron. Many of these collaborations were repeats. went was Dub Stage 1 where I met John, Dave and Gregg. It was
Marks decided to relocate to Hollywood, but in those days the clear that Gregg cared deeply about the quality of the final product
East Coast and West Coast editors unions were separate. He needed and the client’s experience. We shared that and immediately
to join the West Coast Local 776 to work on Hollywood pictures. connected. He loved being creative, interacting with clients, and
In an interview, Marks warned about making the first cut of doing the highest-quality work. And he was really good at it. We

PASSAGES
started a journey together that would last 23 years! David was born in Akron, Ohio and attended Firestone High
In 1995, we were dealing with the early days of digital School. He graduated from the University of Akron, where he
technology, when a lot could go wrong, so there was much planning studied finance and joined the Phi Delta Theta fraternity. In 1978,
and discussion around any change that we made. Gregg was he was the Akron city champion in pole vaulting.
always my main sounding board for these changes. He was able to After college, David
anticipate what might happen on the dub stage. Together, with the moved to California to pursue
rest of our team, we broke in some amazing technology, including job opportunities in the film
the first digital film consoles put into regular use at a post facility. industry. In 1984, he started his
But technology was just the tool that brought us together. career and continued to work
Gregg was all about the creative process of film sound. He loved on more than 80 projects in
talking about it and explaining our craft to others, speaking television and film. As a sound
thoughtfully, with grace. He was able to navigate the difficult editor, he won three Golden
waters that sometimes are part of the job; we worked with some Reel Awards from the Motion
big filmmakers with big personalities! Through those times, he Picture Sound Editors (MPSE),
always supported me personally and, above all, the crew and for Total Recall (1990), Pirates of
what was best for the film at hand. I sensed he got the greatest the Caribbean: The Curse of the
satisfaction from the process of working as a team. Black Pearl (2003) and Letters
His work ethic served him well: Seven Oscar nominations for from Iwo Jima (2006), and was
Sound or Sound Mixing and three wins (Glory, 1989; The Matrix, nominated for many more.
1999; Mad Max: Fury Road, 2015). He also earned nominations David was also part of the team that won a British Academy
and wins from the Television Academy, BAFTA, CAS, MPSE and Award (BAFTA) for JFK (1991) as well as the team that won an
others. He worked with some of the most prolific filmmakers in Oscar for Best Sound Editing for Pearl Harbor (2001). Aside from
the business. the Motion Picture Editors Guild, he was also a member of MPSE
Gregg also was a longtime Board member of Local 700 and and the Academy of Motion Picture Arts and Sciences (AMPAS).
served on the Sound Branch of the Film Academy, where he had Kathy Arnold
an uncanny knack for remembering the branch history and the
decisions we had made. I could always count on him to remind me
of the important history of an issue being discussed. He played a
large part in shaping what the Sound Branch is today.
Work was the vehicle that put us in the same place at the IN MEMORIAM
same time, but once there, the personal side of Gregg became far
more significant. He connected with people and he remembered DAVID ARNOLD JASON NETZLEY
things. We would always talk about our families first. Sound Editor Trailer Editor
In the end, the real worth of a life can be found not in one’s (September 20, 1959 – December 17, 2018) (August 26, 1972 – November 28, 2018)
work, but in the people one touched along the way. We were all 32 years a member 17 years a member
blessed and our lives were increased by the way he treated us. His
kindness, his warmth, the twinkle in his eye… Gregg gave so much CHARLES BRUCE GREGG RUDLOFF
of himself to others. Re-Recording Mixer Re-Recording Mixer
I believe there is more to life than just what we experience (November 28, 1962 – December 2, 2018) (November 2, 1955 – January 6, 2019)
here in this space and time. And I believe we will see him again. 27 years a member 40 years a member
He’s probably with his father Tex right now, talking about good
times. Until we meet again, my prayer for you, Gregg, my brother, J. STEPHEN BUSHELMAN JORDAN SMITH
is that you are at peace. Sound Editor Sound Editor
Kevin Collier (August 30, 1945 – October 27, 2018) (October 4, 1958 – March 21, 2018)
51 years a member 30 years a member
DAVID ARNOLD
SOUND EDITOR RICHARD MARKS, ACE HENRY (JOSE) TORRES
SEPTEMBER 20, 1959 – DECEMBER 17, 2018 Picture Editor Film Technician
(November 10, 1943 – December 31, 2018) (March 30, 1938 – August 20, 2018)
David Arnold passed away peacefully in his sleep after a 48 years a member 52 years a member 69
six-year battle with a traumatic brain injury from a motorcycle
accident. He was 59 and is survived by his loving wife Kathy, LEON MOSES EDWARD WILLIAMS
children Edward and Kaitlyn, mother Roberta, sister and brother- Assistant Editor Picture Editor
in-law Georgette and Daniel Lavery, sister Laura, and nieces and (May 14, 1931 – December 5, 2018) (September 9, 1926 – December 15, 2018)
nephews. 44 years a member 65 years a member

CUT / PRINT CONTRACTUAL OBLIGATIONS
CONTINUED FROM PAGE 63 CONTINUED FROM PAGE 14
Working in Hollywood is devoted to the time before and are impressive. And the staff worked hard to collect them, but
during “The Golden Age of the Hollywood Studio System,” but the reality is that this is just a fraction of outstanding wages
some of the norms then in effect influenced media making for and benefits that should have been recouped. Last year, we saw
decades and continue to have force within the industry today. In the unprecedented engagement of members during the Basic
a final chapter, “Disintegrating,” Regev details how the transition Agreement negotiations. The membership was invigorated,
to what she terms a “film by film” production method replaced with much of that engagement centering upon not achieving
the studio system. Hollywood moved to a business model that the improvements we righteously sought. However, receiving
employed executives, managers, lawyers, lot maintenance improvements that members don’t implement only defeats the
personnel and labs full-time, while ending long-term contracts for purpose of fighting for them.
writers, actors, set designers, editors and other creatives. Moving forward, let’s make sure that every contract provision is
Filmmaking, and later television, became post-modern adhered to. Members must not look the other way or choose not to
businesses, essentially composed mostly of freelancers. In doing contact the Guild when a violation is taking place. If the members
so, it was a very early forerunner of what we now call the gig actively protect the provisions of the contract we already have, we
economy. This book describes some of the factors that created will be that much stronger heading in to the 2021 Basic Agreement.
this change. Most are well-known — the 1948 Paramount anti- We would like to personally thank the Guild field
monopoly decree, the rise of television, filmmakers’ desire representatives for their hard work and dedication: Olie Amarillas,
for creative control — but with the author’s emphasis on Ann Hadsell, Jennifer Madar, Jacky Olitsky and Jessica Pratt. f
economics, the book also notes how changes in federal tax law
for both corporations and personal income made it financially
advantageous for filmmakers to form their own independent
companies. SAVE THE DATE
This analysis rings true but seems to imply that conditions
became better, at least for actors, directors and writers, as the EDITORS GUILD ANNUAL RETIREE LUNCHEONS
studio system faded. Regev cannot be criticized for staying within East Coast West Coast
the time frame and subject she set out to explore: “How did Monday, May 13, 2019 Sunday, May 19, 2019
Hollywood work?” Good writing demands limits of scope. Gallagher’s Steak House Sheraton Universal
Still, many highly creative people in Hollywood, such as 228 W. 57th St. 333 Universal Hollywood Drive
Manhattan, NY Universal City, CA
costume designers, musicians, hair and makeup, production 12:30 p.m. 11:00 a.m. Cocktail Reception
designers, sound recordists, mixers and engineers — even editors 12:30 p.m. Lunch
and cinematographers — found that they were often still treated
as employees on a line, albeit a much smaller one. They were, and
still are, working for the boss of a non-studio (often non-union) ADVERTISERS INDEX
production at whatever salary and hours can be negotiated, often
subject to immediate dismissal, and without the benefits of full- 20th Century Fox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15
time employment. Annapurna Pictures . . . . . . . . . . . . . . . . . . . . . . . . . . . C4
Some at the very top of their professions are fortunate to find Blackmagic Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56
repeated good jobs with high-powered directors or actors who EditorsPetition.com . . . . . . . . . . . . . . . . . . . . . . . . . . . .61
truly respect creative input from employees. Many, many more Focus Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19
are workers, subject to the constraints and abuses of the studio Footage Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
system, but without any of its guarantees. Fox Post-Production Services . . . . . . . . . . . . . . . . . . . . . .63
In Working in Hollywood, Regev includes a chapter each on Fox Searchlight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
producers, directors, writers and actors, but fails to deal with other I Am the Union . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C3
creative jobs, including post-production. This focus on the most Invisible Art Visible Artists . . . . . . . . . . . . . . . . . . . . . . . .33
publicly visible filmmakers is natural for a scholar who is gleaning Motion Picture Editors Guild . . . . . . . . . . . . . . . . . . . . . . .71
information from major archives, and the reader can easily Motion Picture & Television Fund . . . . . . . . . . . . . . . . . . . .66
extrapolate how the same factors that industrialized higher-profile NAB 2019 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
jobs also transformed post. The histories of post-production arts, National Geographic. . . . . . . . . . . . . . . . . . . . . . . . . . . .23
70 in most cases, have yet to be written. Netflix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C2
The Motion Picture Editors Guild, founded in 1937 as the Paramount Pictures . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
Society of Motion Picture Film Editors, fought a set of battles Universal Pictures. . . . . . . . . . . . . . . . . . . . . . . . . . . 11, 16
endemic to the major studios. And 82 years later, the parameters of Walt Disney Studios Motion Pictures. . . . . . . . . . . . . . . . . .21
the battles may have shifted, but the fight for workers continues. f Warner Bros. Pictures . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Warner Bros. Studio Facilities . . . . . . . . . . . . . . . . . . . . . . 3

TAIL POP (1955)
ELIA KAZAN’S ‘EAST OF EDEN’ working as a projectionist in the audio-

visual department. In my work, I was
exposed to such films as Vittorio De
Sica’s Bicycle Thieves and Laurence
Olivier’s Hamlet (both 1948). The drama
of these films touched me deeply. I spent
more time with these films than with my
studies and eventually flunked out.
To avoid being drafted, I joined the
Air Force. I was originally in Intelligence
and was sent to the spy school in
Monterey. Once again, I sacrificed
study for movies. Richard Burton was
by Jack Tucker, ACE my downfall when he did Hamlet on
I
East of Eden. grew up at the movies. I lived in a neighborhood where Broadway, and it was filmed and shown for one night only
Warner Bros./ most of the children were younger than I was, and across the country.
Photofest therefore I had few friends my own age. I spent my time I was read the “riot act” for not studying, but the Air
reading and going to the movies. These pursuits were my Force liaison asked me what I wanted to do. I told him
companions. At that time, admission for a kid was 25 to film, and he handed me a book listing all Air Force jobs
60 cents, and we had double and sometimes even triple and their descriptions. I was amazed to find several film
features. One week, I saw 11 films. Movies were my life. jobs. It was between cameraman and film editor, but
I came from a broken home, raised by my mother though the former seemed exciting, editing seemed to be
— who worked very hard to put food on the table — and the heart of the process.
my grandmother. I have no concept of what a father is. I was fortunate to get into the filmmaking unit
Because my mother was always working, I felt alienated hidden in Laurel Canyon in the Hollywood Hills.
from her and unloved. There were many old-time retired industry editors
It never occurred to me to be in the filmmaking working for the Air Force through civil service, and they
business until I saw Elia Kazan’s East of Eden. As a 16-year- taught me the essentials of the craft. These men had 450
old boy who himself felt unloved, I was transformed by the years experience amongst them and said, “We may not
film. I took a girl with me in hopes of “making out.” Once know everything about editing, but we did invent it.”
the film started, I totally forgot about her. Nearly 50 years after Dean died, I got the chance to
As James Dean wandered the streets of 1917 reunite with him. My friend, Michael Sheridan, ACE,
Monterey following the mother he has never known, I was producing and directing a documentary called James
was mesmerized. When Dean climbed up on the boxcar Dean: Forever Young (2005) and asked me to join him as
(in that magnificent CinemaScope photography) to co-supervising editor on the project. I wound up going to
hitch a ride from Monterey to Salinas, and sat shivering Dean’s home in Indiana, meeting his family and learning
on it, he touched me to my very soul. His alienation much more about my mentor.
was complete. This was the epiphany that set me on the Over the years, I have met many people who were
course of making films. He was my mentor. inspired by East of Eden and James Dean.
I tracked down everything I could find on Dean, Martin Sheen was eager to narrate Sheridan’s film
including Rebel Without a Cause (1955) and Giant (1956), and we knew the Beatles were fans. We wanted to use
the film he had finished just before he was killed while Paul McCartney’s “Mull of Kintyre.” I sent him a clip of
driving his sports car to a race in Salinas. There would be how we wanted to use it in the film and he replied, “What
no more of his films, but I was inspired. can you pay?” We got the song.
I worked at odd jobs and earned enough money The real benefit of the craft we serve is when
to buy a cheap 8mm projector and, eventually, an 8mm someone we’ve never met sits in a theatre and is touched
72 camera. I began making little silent films, usually by something we’ve put on film. We either make them
monster movies. I managed to buy an old Bell & Howell laugh or cry or just be inspired. East of Eden did that
to me long after Dean’s death. That gives us a kind of
immortality, and that’s why we do what we do. f
16mm projector and rented feature films that I ran in
my basement, which I converted into a theatre for the
neighborhood kids.
In college, I was an English major and made money

BEST BEST ORIGINAL BEST BEST SUPPORTING BEST BEST FOREIGN BEST PRODUCTION DESIGN BEST SOUND EDITING BEST SOUND MIXING
DIRECTOR SCREENPLAY ACTRESS ACTRESS CINEMATOGRAPHY LANGUAGE FILM Eugenio Caballero, Sergio Díaz, Skip Lievsay, CAS,
Alfonso Cuarón Alfonso Cuarón Yalitza Aparicio Marina de Tavira Alfonso Cuarón Bárbara Enríquez Skip Lievsay, CAS Craig Henighan, MPSE,
José Antonio García
“‘ROMA’ IS A MONUMENT TO THE POWER OF FILM

TO INSPIRE EMPATHY ACROSS THE
WALLS
WALLS OF
OF GEOGRAPHY,
GEOGRAPHY, CLASS
CLASS AND
AND CULTURE.
CULTURE.
Alfonso Cuarón’s personal tour de force deftly captures the emotional balance
of intimacy and opera – recalling the poetic power of Fellini and Buñuel
while creating a film of striking originality and vaulting ambition.
Emblazoned
Emblazoned in in memory
memory byby its
its hypnotic
hypnotic cinematography
cinematography andand bravura
bravura sound
sound design,
design,
with
with aa heart
heart that
that beats
beats from
from Yalitza
Yalitza Aparicio’s
Aparicio’s radiant
radiant humanity,
humanity,
‘ROMA’ is a work of art so powerful that audiences will feel transported
to a world they may have never visited, but have lived forever.”
CINE MONTAGE, IST LHP - REVISION 1

A TEACHABLE MOMENT: BOUNCING BACK FROM THE BRINK
CINEMONTAGE
CINEMONTA GE
F F O OR R Y YO OU U R R C CO ON N S SI I D DE E R R A AT T I IO ON N
CINEMONTAGE / MOTION PICTURE EDITORS GUILD

VOL 8 NO 1 / Q1 2019 JOURNAL OF THE
JOURNAL MOTION
OF THE PICTURE
MOTION EDITORS
PICTURE GUILD
EDITORS GUILD
‘DUCKTALES’ / ‘CHILLING ADVENTURES OF SABRINA’ / KENNETH SHAPIRO / SUNDANCE EDITORS

MAGAZINE SPINE ARTWORK
Oscar’s Digital
Effects Master
Editors Make
Sundance Debuts
‘Chilling Adventures
© 2018 ANNAPURNA©PICTURES, LLC.
2018 ANNAPURNA PICTURES, LLC.
All rights reserved. All rights reserved.
of Sabrina’
“AN ALMOST
“AN ALMOST EXPERIMENTAL
EXPERIMENTAL STYLE
STYLE OF
OF EDITING
EDITING
THAT CREATES
THAT AN
CREATES APOCALYPTIC
AN WHIRLWIND.
APOCALYPTIC WHIRLWIND.VICE
VICE FEELS
FEELS
PARTICULARLY
PARTICULARLY TIMELY
TIMELY WITH ITS
WITH THRUSTING
ITS SPIRIT
THRUSTING OFOF
SPIRIT MONTAGE ——
MONTAGE
HANK
HANK CORWIN’S
CORWIN’S DAREDEVIL
DAREDEVIL EDITING
EDITING
FEATURES WILD
FEATURES ANIMALS
WILD ROARING
ANIMALS OUT
ROARING OFOF
OUT FLASH
FLASHFRAMES
FRAMES
AND
ANDBLOOD POUNDING
BLOOD POUNDINGTHROUGH
THROUGH VEINS.
VEINS.
Fowl Play: Editing Disney’s ‘DuckTales’

Q1 2019
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Cine Montaje Vol 08

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A TEACHABLE MOMENT: BOUNCING BACK FROM THE BRINK

CINEMONTAGE / MOTION PICTURE EDITORS GUILD

‘DUCKTALES’ / ‘CHILLING ADVENTURES OF SABRINA’ / KENNETH SHAPIRO / SUNDANCE EDITORS

Fowl Play: Editing Disney’s ‘DuckTales’

CineMontage CVR.indd 1 2/8/19 1:46 PM

“‘ROMA’ IS A MONUMENT TO THE POWER OF FILM

CINE MONTAGE, IST LHP - REVISION 1

Pictured: Barbara Ann Duffy, left,

28 The Sundance Kids

34 Oscar’s Digital Effects Master

Clockwise from top: Clemency, photo by Eric Branco, courtesy of Sundance

CineMontage_2019-Q1-4a.indd 1 2/8/19 4:55 PM

5 Post Script – Tomm Carroll

6 President’s Message – Alan Heim, ACE

9 Getting Organized – Rob Callahan

18 This Quarter in Film History

57 Motion Capture for the Masses

From top: Riot in Cell Block 11, Allied Artists Pictures/

CineMontage_2019-Q1-4a.indd 2 2/8/19 4:58 PM

National Executive Director Emeritus Ronald G. Kutak

REGIONAL OFFICES THE 66TH ANNUAL

Local 700, International Alliance of Theatrical Stage Employees,

CineMontage_2019-Q1-4.indd 3 2/7/19 1:30 PM

CineMontage_2019-Q1-4.indd 4 2/7/19 1:32 PM

Editor – Tomm Carroll

CineMontage_2019-Q1-4.indd 5 2/7/19 1:32 PM

Photo by Wm. Stetz

Let’s Continue the Solidarity

L ast year was a challenging one for our Guild,

CineMontage_2019-Q1-4a.indd 6 2/8/19 4:59 PM

WARNER BROS. 8.5” x 10.875” N/A

FAVE_Cinemontage_FP_Quarter.Issue2.4_FIN.indd 1 1/28/19 11:05 AM

L ast June, my column in these pages invoked the cinematic

CineMontage_2019-Q1-4.indd 9 2/7/19 1:33 PM

CineMontage_2019-Q1-4.indd 10 2/7/19 1:33 PM

BEST SOUND EDITING

BEST SOUND MIXING

universalpicturesawards.com © 2018 UNIVERSAL STUDIOS

CINE MONTAGE MATERIALS DUE: MONDAY, 1/28

CineMontage_2019-Q1-4.indd 13 2/7/19 1:34 PM

The Importance of Enforcement

A s part of the IATSE union, the Editors

CineMontage_2019-Q1-4a.indd 14 2/8/19 5:02 PM

BEST FILM EDITING PATRICK J. DON VITO

FO R YOUR CONS IDERAT ION

BEST FILM EDITING

CINE MONTAGE MATERIALS DUE: TUESDAY, 1/29

I grew up in Santa Clarita during the

CineMontage_2019-Q1-4.indd 17 2/7/19 1:37 PM

CineMontage_2019-Q1-4.indd 18 2/7/19 1:37 PM

“SPIKE LEE’S ‘BLACKKKLANSMAN’ IS DARING AND ESSENTIAL.

A SPIKE LEE JOINT

BLACKkKLANSMAN - CINE MONTAGE - Final

CineMontage_2019-Q1-4a.indd 20 2/8/19 5:04 PM

FOR YOUR CONSIDERATION

CineMontage_2019-Q1-4.indd 22 2/7/19 1:41 PM

TO EVERYONE WHO BELIEVES

CineMontage_2019-Q1-4.indd 24 2/7/19 1:41 PM

Tommy Vicari on ‘Road to Perdition’

Road to Perdition. DreamWorks/Photofest

by Peter Tonguette its potent blend of humanity and thrills, the

CineMontage_2019-Q1-4.indd 25 2/7/19 1:43 PM

CineMontage_2019-Q1-4.indd 26 2/7/19 1:43 PM

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