This browser is supported only in Windows 10 and above.

DID YOU READ

Dede Allen, 1923-2010.

Dede Allen, 1923-2010. (photo)

Posted by on

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]

IFC_FOD_TV_long_haired_businessmen_table

Hacked In

Funny or Die Is Taking Over

FOD TV comes to IFC every Saturday night.

Posted by on

via GIPHY

We’ve been fans of Funny or Die since we first met The Landlord. That enduring love makes it more than logical, then, that IFC is totally cool with FOD hijacking the airwaves every Saturday night. Yes, that’s happening.

The appropriately titled FOD TV looks like something pulled from public access television in the nineties. Like lo-fi broken-antenna reception and warped VHS tapes. Equal parts WTF and UHF.

Get ready for characters including The Shirtless Painter, Long-Haired Businessmen, and Pigeon Man. They’re aptly named, but for a better sense of what’s in store, here’s a taste of ASMR with Kelly Whispers:

Watch FOD TV every Saturday night during IFC’s regularly scheduled movies.

SAE_102_tout_2

Wicked Good

See More Evil

Stan Against Evil Season 1 is on Hulu.

Posted by on
GIFs via Giphy

Okay, so you missed the entire first season of Stan Against Evil. There’s no shame in that, per se. But here’s the thing: Season 2 is just around the corner and you don’t want to lag behind. After all, Season 1 had some critical character development, not to mention countless plot twists, and a breathless finale cliffhanger that’s been begging for resolution since last fall. It also had this:

via GIPHY

The good news is that you can catch up right now on Hulu. Phew. But if you aren’t streaming yet, here’s a basic primer…

Willards Mill Is Evil

Stan spent his whole career as sheriff oblivious to the fact that his town has a nasty curse. Mostly because his recently-deceased wife was secretly killing demons and keeping Stan alive.

Demons Really Want To Kill Stan

The curse on Willards Mill stipulates that damned souls must hunt and kill each and every town sheriff, or “constable.” Oh, and these demons are shockingly creative.

via GIPHY

They Also Want To Kill Evie

Why? Because Evie’s a sheriff too, and the curse on Willard’s Mill doesn’t have a “one at a time” clause. Bummer, Evie.

Stan and Evie Must Work Together

Beating the curse will take two, baby, but that’s easier said than done because Stan doesn’t always seem to give a damn. Damn!

via GIPHY

Beware of Goats

It goes without saying for anyone who’s seen the show: If you know that ancient evil wants to kill you, be wary of anything that has cloven feet.

via GIPHY

Season 2 Is Lurking

Scary new things are slouching towards Willards Mill. An impending darkness descending on Stan, Evie and their cohort – eviler evil, more demony demons, and whatnot. And if Stan wants to survive, he’ll have to get even Stanlier.

Stan Against Evil Season 1 is now streaming right now on Hulu.

IFC_ComedyCrib_ThePlaceWeLive_SeriesImage_web

SO EXCITED!!!

Reminders that the ’90s were a thing

"The Place We Live" is available for a Jessie Spano-level binge on Comedy Crib.

Posted by on
GIFs via Giphy

Unless you stopped paying attention to the world at large in 1989, you are of course aware that the ’90s are having their pop cultural second coming. Nobody is more acutely aware of this than Dara Katz and Betsy Kenney, two comedians who met doing improv comedy and have just made their Comedy Crib debut with the hilarious ’90s TV throwback series, The Place We Live.

IFC: How would you describe “The Place We Live” to a fancy network executive you just met in an elevator?

Dara: It’s everything you loved–or loved to hate—from Melrose Place and 90210 but condensed to five minutes, funny (on purpose) and totally absurd.

IFC: How would you describe “The Place We Live” to a drunk friend of a friend you met in a bar?

Betsy: “Hey Todd, why don’t you have a sip of water. Also, I think you’ll love The Place We Live because everyone has issues…just like you, Todd.”

via GIPHY

IFC: When you were living through the ’90s, did you think it was television’s golden age or the pop culture apocalypse?


Betsy: I wasn’t sure I knew what it was, I just knew I loved it!


Dara: Same. Was just happy that my parents let me watch. But looking back, the ’90s honored The Teen. And for that, it’s the golden age of pop culture. 

IFC: Which ’90s shows did you mine for the series, and why?

Betsy: Melrose and 90210 for the most part. If you watch an episode of either of those shows you’ll see they’re a comedic gold mine. In one single episode, they cover serious crimes, drug problems, sex and working in a law firm and/or gallery, all while being young, hot and skinny.


Dara: And almost any series we were watching in the ’90s, Full House, Saved By the Bell, My So Called Life has very similar themes, archetypes and really stupid-intense drama. We took from a lot of places. 

via GIPHY

IFC: How would you describe each of the show’s characters in terms of their ’90s TV stereotype?

Dara: Autumn (Sunita Mani) is the femme fatale. Robin (Dara Katz) is the book worm (because she wears glasses). Candace (Betsy Kenney) is Corey’s twin and gives great advice and has really great hair. Corey (Casey Jost) is the boy next door/popular guy. Candace and Corey’s parents decided to live in a car so the gang can live in their house. 
Lee (Jonathan Braylock) is the jock.

IFC: Why do you think the world is ready for this series?

Dara: Because everyone’s feeling major ’90s nostalgia right now, and this is that, on steroids while also being a totally new, silly thing.

Delight in the whole season of The Place We Live right now on IFC’s Comedy Crib. It’ll take you back in all the right ways.