Q4 2018

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15 Q4 2018 / CINEMONTAGE file members in our local and others have created a way to get to know what challenges we each face in our day-to-day working lives. I think that kind of dialogue should continue, and it can be a great catalyst toward forging alliances, finding things that unite us and understanding those that seem to divide us. It is overly idealistic to believe that we will always be united on every issue. During the ratification process, many members on both sides of the merits of the new agreement felt passionately about their positions — and sometimes that passion led to somewhat disrespectful behavior. I don't think that exemplifies who we are as a union. We must be able to disagree and to do so by demonstrating respect and dignity, viewing any differences as differing opinions and not a division. On many levels, we are already more united than it appears. We need to build upon that commonality for the successful future of our union. You have demonstrated that this can be achieved. Your unity and conviction certainly have inspired others. I am profoundly amazed by all you did. So yes, we can achieve great things if we keep this level of participation growing. As we head into Awards Season, let us celebrate each and every IA classification, as all play a role in creating the products that are honored, as well as those that are not. While only a handful of IA classifications are singled out for their contributions, our business is a collaborative process and each one of you should be celebrated for the craftsmanship and artistry you so wholeheartedly pour into your work. That dedication to and ownership of the work, oftentimes at great personal sacrifice, is something that is undeniably part of the anatomy of employment in the entertainment industry. So let's all proudly honor the contributions of all members of IATSE. In closing, I wish you all an extraordinary holiday season and I look forward to a new year. As we head into 2019, much of my work will be to interact closely with the Guild's Officers and Board of Directors to lay out our priorities. I ask you to stay tuned as we call upon you for further involvement and action. This is merely the beginning. You must remain engaged. To stand alongside you with our fists in the air has been a true privilege, and I am thankful for the honor of serving the membership of Local 700. FROM THE NATIONAL EXECUTIVE DIRECTOR CONTINUED FROM PAGE 12 With the participation of picture editor Bob Murawski, ACE and music editor Ellen Segal, the film was finally completed earlier this year, using Welles' original footage, and hit the international film festival circuit (Venice, Telluride, New York) before dropping on Netflix November 2, concurrent with a theatrical release. Not only did our writer Peter Tonguette — a Welles scholar who has written a book on the filmmaker and his work — discuss with Murawski and Segal their contributions to bringing this white whale of cinema to contemporary screens, but for an accompanying article, he rounded up several of the original editors who had worked with Welles off and on over the 1970s and early 1980s on TOSOTW to query them on their experience cutting with the maestro, who also receives an editing credit on the finished film. And finally, we celebrate legendary re-recording mixer Lee Dichter, CAS, who received the Editors Guild Fellowship and Service Award at a ceremony in New York in October. Tonguette profiled Dichter for a special tribute book distributed at the award ceremony, and that profile, along with the accompanying testimonials from the mixer's colleagues (compiled by Edward Landler) that appeared in the book, are reprinted here in their entirety. Coverage of the event is provided by Guild Board member Jeff Burman with photos by Sarah Shatz. Here's hoping you survive the Awards — and the Holiday — Season. Happy New Year! f CONTINUED FROM PAGE 11 POST SCRIPT Cathy Repola addresses Guild members at a Special Membership Meeting in July. Photo by Deverill Weekes

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