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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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Last-Minute Holiday Gift Guide

Hits from the '80s are on repeat all Christmas Eve and Day on IFC.

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GIFs via Giphy, Photos via The Everett Collection

It’s the final countdown to Christmas and thanks to IFC’s movie marathon all Christmas Eve and Christmas Day, you can revel in classic ’80s films AND find inspiration for your last-minute gifts. Here are our recommendations, if you need a head start:

Musical Instrument

Great analog entertainment substitute when you refuse to give your kid the Nintendo Switch they’ve been drooling over.

Breakfast In Bed

Any significant other or child would appreciate these Uncle Buck-approved flapjacks. Just make sure you’re not stuck on clean up duty.

Cocktail Supplies

You’ll need them to get through the holidays.

Dance Lessons

So you can learn to shake-shake-shake (unless you know ghosts willing to lend a hand).

Comfy Clothes

With all the holiday meals, there may be some…embigenning.



Get even more great inspiration all Christmas Eve and Day on IFC, and remember…

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A-O Rewind

Celebrating Portlandia One Sketch at a Time

The final season of Portlandia approaches.

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GIFs via Giphy

Most people measure time in minutes, hours, days, years…At IFC, we measure it in sketches. And nothing takes us way (waaaaaay) back like Portlandia sketches. Yes, there’s a Portlandia milepost from every season that changed the way we think, behave, and pickle things. In honor of Portlandia’s 8th and final season, Subaru presents a few of our favorites.

via GIPHY

Put A Bird On It

Portlandia enters the pop-culture lexicon and inspires us to put birds on literally everything.

Colin the Chicken

Who’s your chicken, really? Behold the emerging locavore trend captured perfectly to the nth degree.

Dream Of The ’90s

This treatise on Portland made it clear that “the dream” was alive and well.

No You Go

We Americans spend most of our lives in cars. Fortunately, there’s a Portlandia sketch for every automotive situation.

A-O River!

We learned all our outdoor survival skills from Kath and Dave.

One More Episode

The true birth of binge watching, pre-Netflix. And what you’ll do once Season 8 premieres.

Catch up on Portlandia’s best moments before the 8th season premieres January 18th on IFC.

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WTF Films

Artfully Off

Celebrity All-Star by Sisters Weekend is available now on IFC's Comedy Crib.

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Sisters Weekend isn’t like other comedy groups. It’s filmmaking collaboration between besties Angelo Balassone, Michael Fails and Kat Tadesco, self-described lace-front addicts with great legs who write, direct, design and produce video sketches and cinematic shorts that are so surreally hilarious that they defy categorization. One such short film, Celebrity All-Star, is the newest addition to IFC’s Comedy Crib. Here’s what they had to say about it in a very personal email interview…

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IFC: How would you describe Celebrity All-Star to a fancy network executive you just met in an elevator?

Celebrity All-Star is a short film about an overworked reality TV coordinator struggling to save her one night off after the cast of C-List celebrities she wrangles gets locked out of their hotel rooms.

IFC: How would you describe Celebrity All-Star to a drunk friend of a friend you met in a bar?

Sisters Weekend: It’s this short we made for IFC where a talent coordinator named Karen babysits a bunch of weird c-list celebs who are stuck in a hotel bar. It’s everyone you hate from reality TV under one roof – and that roof leaks because it’s a 2-star hotel. There’s a magician, sexy cowboys, and a guy wearing a belt that sucks up his farts.

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IFC: What was the genesis of Celebrity All-Star?

Celebrity All-Star was born from our love of embarrassing celebrities. We love a good c-lister in need of a paycheck! We were really interested in the canned politeness people give off when forced to mingle with strangers. The backstory we created is that the cast of this reality show called “Celebrity All-Star” is in the middle of a mandatory round of “get to know each other” drinks in the hotel bar when the room keys stop working. Shows like Celebrity Ghost Hunters and of course The Surreal Life were of inspo, but we thought it
was funny to keep it really vague what kind of show they’re on, and just focus on everyone’s diva antics after the cameras stop rolling.

IFC: Every celebrity in Celebrity All-Star seems familiar. What real-life pop personalities did you look to for inspiration?

Sisters Weekend: Anyone who is trying to plug their branded merch that no one asked for. We love low-rent celebrity. We did, however, directly reference Kylie Jenner’s turd-raison lip color for our fictional teen celebutante Gibby Kyle (played by Mary Houlihan).

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IFC: Celebrity seems disgusting yet desirable. What’s your POV? Do you crave it, hate it, or both?

Sisters Weekend: A lot of people chase fame. If you’re practical, you’ll likely switch to chasing success and if you’re smart, you’ll hopefully switch to chasing happiness. But also, “We need money. We need hits. Hits bring money, money bring power, power bring fame, fame change the game,” Young Thug.

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IFC: Who are your comedy idols?

Sisters Weekend: Mike grew up renting “Monty Python” tapes from the library and staying up late to watch 2000’s SNL, Kat was super into Andy Kaufman and “Kids In The Hall” in high school, and Angelo was heavily influenced by “Strangers With Candy” and Anna Faris in the Scary Movie franchise, so, our comedy heroes mesh from all over. But, also we idolize a lot of the people we work with in NY-  Lorelei Ramirez, Erin Markey, Mary Houlihan, who are all in the film, Amy Zimmer, Ana Fabrega, Patti Harrison, Sam Taggart. Geniuses! All of Em!

IFC: What’s your favorite moment from the film?

Sisters Weekend: I mean…seeing Mary Houlihan scream at an insane Pomeranian on an iPad is pretty great.

See Sisters Weekend right now on IFC’s Comedy Crib

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