DID YOU READ

Dede Allen, 1923-2010.

Dede Allen, 1923-2010. (photo)

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Dede Allen, who died over the weekend of a stroke at the age of 86, thought of herself as a “gut editor.” In a quote from Mark Harris’s book “Pictures at a Revolution,” about the Academy Award nominees for Best Picture in 1967, Allen succinctly explained her technique. “Intellect and taste count,” she said, “but I cut with my feelings.” The movie Allen cut in 1967 (with her feelings as well as her intelligence and a great deal of innovation) was “Bonnie and Clyde,” and though her work was inexplicably unrewarded by the Academy, it was one of the primary reasons the film became an important and influential movie. The sequence where Bonnie Parker and Clyde Barrow meet their bloody end remains one of the most justly famous scenes in cinematic history. Some of its shock value has been lost in 40-plus years and many have imitated its techniques (particularly its blend of shots of different frame rates to elongate its eruption of violence), few have matched its power or its bloody beauty:

From the moment Clyde steps out of his car to the overhead shot of the two lifeless bodies is about one minute and three seconds. In that time, there are 60 cuts, a particularly impressive number when you consider that Allen assembled the sequence long before digital editing, piecing together actual segments of celluloid, a few frames at a time. After a long, successful career as an editor and a period as an executive for Warner Brothers, Allen learned to edit on an Avid, and used it on Curtis Hanson’s “Wonder Boys” (that time, she got an Oscar nomination). While no one would dispute computers make editing easier, Allen didn’t necessarily find them superior.

04192010_TheHustler.jpgIn a 2000 interview for Movie Picture Editors Guild Magazine, she told Mia Goldman that the classic techniques had their advantages. “The greatest disadvantage [to digital editing] I can think of is that you don’t screen your material as much as you used to.” she said. “I’d do a lot of memorizing and somehow the availability of the exact pieces that I had memorized made the process seem, ironically, more immediate.”

According to the Los Angeles Times’ obituary for Allen, she got her start in the movie business as a messenger at Columbia Pictures. Though she dreamed of being a director, she worked her way up as a cutter in the special effects department. She eventually began editing commercials then graduated to feature films as the cutter on films like Robert Wise’s “Odds Against Tomorrow” (1959) and Robert Rossen’s “The Hustler” (1961). Soon came “Bonnie and Clyde” which, according to the Times, marked the first time in history an editor received sole credit for their contribution to a film.

Her filmography also includes Sidney Lumet’s “Serpico” (1973) and “Dog Day Afternoon” (1975) and Warren Beatty’s “Reds” (1981); she received Oscar nominations for Best Editing for the last two. Though she’s now best remembered for “Bonnie and Clyde,” her most underrated work might have come in two classic, genre-defining comedies: George Roy Hill’s “Slap Shot” (1977) and John Hughes’s “The Breakfast Club” (1985). Every American teenager since then has watched the latter; most of them have studied and then imitated the famous dance sequence, brilliantly edited by Allen to Karla DeVito’s song “We Are Not Alone”:

Here’s a classic scene from “Slap Shot.” The biggest laugh in the clip isn’t the fighting, or the dialogue — it’s a single, sudden jump cut from the brawl to the aftermath (look for it at the 1:40 mark):

In the interview with Goldman, Allen was asked what advice she had for editors. She said, “I would give the same advice I gave in the old days which is learn where the scene is.” In the flash of glances between lovers in the split-second before their death, or the angry glare of a ref to a hockey goon, in dozens of movies, hundreds of scenes, thousands of cuts, Allen always found it.

[Photos: Dede Allen during the production of “Reds,” Paramount Pictures, 1981; “The Hustler,” 20th Century Fox, 1961]

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Culture Vulture

IFC Teams Up With Vulture.com to Develop New Pop Culture Series

The Vulture Show will tackle pop culture with a "slightly off" twist.

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Photo Credit: New York Magazine

The pop culture aficionados at Vulture.com are teaming up with IFC to develop a brand new unscripted series. The Vulture Show will deliver smart, irreverent and “slightly off” entertainment news covering TV, movies, music, art, books, theater and celebrities with the outlet’s signature sharp perspective.

The weekly dual-hosted talk show will feature some of Vulture’s most influential contributing voices and will be comprised of in studio features, field pieces and celebrity guest interviews.

“IFC has found the perfect pop culture accomplice with New York Magazine’s Vulture,” said Christine Lubrano, SVP, Original Programming, IFC. “We look forward to developing a show that provides our viewers with a sophisticated and humorous first-look at all things entertainment before it’s the news everyone is buzzing about.”

“It’s fitting that we bring Vulture to TV with IFC, whose offbeat sensibility matches our own,” said Adam Moss, Editor-in-Chief, New York Magazine. “We’ve had a tremendous response to our Vulture Festival events, and are excited for this next incarnation of Vulture.”

Be sure to check back for future details about The Vulture Show.

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Marc Maron – Maron – Season 4, Episode 5

Life Goals

10 Maron Quotes to Get You Through the Week

Get over the Wednesday hump with a brand new Maron tonight at 9P.

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Wednesdays are tough. You’re halfway through the week, but there’s still half of the week left. Luckily Wednesdays mean brand new Maron, with yet another chance to gain some much needed wisdom from Marc Maron. This week Marc continues to dig himself out of his own personal hell, making us all wiser in the process. Before you catch tonight’s Maron, check out some Marc quotes to get you over “Hump Day.”

1. Set realistic diet goals.

Whipped Cream Maron

Instead of looking up how many calories you have left for today’s nutritional intake, admit that you just want something of the whipped and creamy variety.


2. Assert yourself into the conversation.

Maron Shut Up

Instead of letting people walk all over you, be like Marc and demand to be heard…even if it’s just to tell someone to shut up.


3. Trust no one. Except Marc.

"Maron

Instead of trying to figure out which friend could keep a secret, admit that you yourself couldn’t keep a secret to save your life.


4. Minimize your shortcomings.

Maron Notes

Instead of blaming the world for your failures, admit when it’s your own damned fault…to a point.


5. Celebrate accomplishments. Even minor ones.

Maron Ahole

Instead of wishing for greater success, take pride in the ways that you have excelled without judgment.


6. Remember that every day is filled with potential.

Maron Possibilities

Just make sure you have enough coffee.


7. Demand proof from others.

Maron Believe

Instead of potentially being in someone’s shadow, throw doubt on anything they haven’t properly documented.


8. Take a moment to reflect.

Maron Right Thing

There’s a first time for everything.


9. Be honest about where you’re at right now.

Maron Smart

Instead of avoiding embarrassment, embrace it.


10. And finally, remember the important things in life.

Maron Love

Instead of bemoaning the inadequacies of your relationships, perhaps due in part to items 1 through 9, just focus on the physical.

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Marc Maron – Maron – Season 4, Episode 4

Behind the Anger

Marc Maron Gets Deep in an Interview with Fresh Air’s Terry Gross

Follow Marc's journey to recovery tonight at 9P on IFC.

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It ain’t no stage persona: Marc Maron is an anxious, angry, complicated fellow. In a recent interview with Terry Gross on Fresh Air, the Maron star described how he’s beset by constant anxiety, self-hatred, and general unease, which he considers his “uncomfortable” comfort zone. “Being sort of anxious and uncomfortable has really been my home base, innately,” he said. “And I don’t know how to change that, and that’s really the challenge for me now.”

A former addict himself, Marc also discussed the difficulty of portraying his TV character’s drug relapse, downfall, and rehabilitation — a fear he’s glad “happened in fiction and not in real life.”

Click here to listen to Marc Maron’s deep and revealing interview with NPR’s Terry Gross on Fresh Air.

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