Issue link: https://digital.copcomm.com/i/1061972
117 Q4 2018 / CINEMONTAGE 117 Q4 2018 / CINEMONTAGE interlocking Four Friends, the director gave us his notes and sheepishly asked, "So what do you want me to do now?" I advised that Lee would begin mixing reel one in the morning and that he could join us then or, if he preferred, we could call him when we were nearing playback. "You mean I don't have to be here round-the-clock?" director Arthur Penn inquired. "No," I replied. "Dede made me stay at the mix all the time," Arthur let on. "She never allowed me to leave." "Well, that's up to you," I said. "Great. I hate being at the mix. It's worse than root canal," Arthur declared. We mixed on with Lee. It was painless and laughter filled the room. But Lee's extraordinary talents were paramount: facility and technique — and casting himself as crewmember rather than authority. Notably, Lee earned generous kudos from Arthur. As for me, I had established a new friendship. Eventually, Lee confided that he wanted to put professional distance between himself and the family business (his dad was a Photo-Mag partner). I soon expressed my enthusiasm for Lee to the honchos at Trans/Audio and Sound One. Meanwhile, Lee's reputation began to flourish. And then Elisha Birnbaum made Lee an offer he couldn't refuse: a brand new studio built to his specifications at Sound One. And in a jiff, the dude was booked solid. Barry Malkin Friend/Colleague; Picture Editor n A lthough I had met Lee Dichter and knew his reputation, I didn't have an opportunity to work with him until after I had moved from New York to Los Angeles. In 1998, having returned to New York to edit a Nora Ephron film, I worked with Lee on what was to be the first of three feature film collaborations. Working with Lee is an astonishing experience. He runs his mixing room like a conductor leads an orchestra. Although he is legendary for his expertise in dialogue mixing, he is equally accomplished in both music and effects mixing. He personifies everything you could wish for in a re-recording mixer: intelligence, knowledge, humor, technical skill, an indispensable sense of story and that last magic ingredient — endless, endless patience. I don't know how he does it, but in the chaotic end of post-production, he brings an attitude of composure and calm to an atmosphere not usually known for either. That's no easy feat when time, patience, money and tempers are running short. He is one of the few re-recording mixers directors specifically request and for whom they are willing to adjust their post schedules. Lee's film and television credits are numerous and impressive. They cover many genres, from the documentaries of the Maysles brothers to Get Shorty; from Ken Burns' documentary series The Civil War to Blue Jasmine and You've Got Mail; from Barton Fink to the television miniseries Angels in America. Congratulations, Lee, you deserve this recognition and award. Richard Marks, ACE Friend/Colleague; Picture Editor n I have had the good fortune to work on 20-plus movies mixed by Lee Dichter, a name synonymous with New York post-production for the last 50 years. Anyone who has heard his mixes can attest to their artistry. While Lee's contribution to the medium will be long remembered, it's the impression he leaves behind as a charismatic and generous individual that is most significant to me. Those of us lucky enough to have worked with him can tell you about the radiant warmth and sense of fun with which he filled his stages at Sound One. They were not just places of work, but his home in which we were invited to participate on his creative journeys. No matter how tight the schedule or how combustible the personalities involved, his affability defused even the most intense situations with laughter and good cheer. As a dialogue editor, I was able to witness his work firsthand. Whether it was adjusting the volume or equalization of a syllable on the fly, instructing me to shift the word placement on a voiceover in order to make room for a music cue or to simply let a moment of drama breathe, his ease with the process always impressed me. Like an uncle revealing magic tricks, he would sometimes smile knowingly at me as he proudly annotated his deft actions. He always made tough deadlines with grace, keeping the mood buoyant regardless of stressful schedules. He always kept the bigger picture at the forefront of his mind, his singular attention to detail never devolving into detours in the weeds — a perfectionist without the myopia that is often its partner. I congratulate Lee for this well- deserved honor and thank him for his years of inspiration and support. Tony Martinez Colleague; Dialogue/ADR Editor n W hat can I say about Lee Dichter? I've worked with Lee as a dialogue editor on more than 20 Woody Allen films. Along the way, we've managed to squeeze in a few other gems. I can honestly say that the reason they were all wonderful experiences is the common denominator of Lee. He mixes, but in that process he teaches, he listens and he cares. His passion for mixing is unparalleled. He can spend hours working on a line of dialogue, or a phrase of music, until it's just where he thinks it should be. And of course, he's usually right. His passion for life is just as powerful. As anyone who has ever been in a mixing studio knows, there is often a lot of downtime spent in a dark room sharing stories. What I learned about life in those moments, I cherish more than anything! I love you, Lee, with all my heart, and it's been my great privilege to work with you these many years! Sylvia Menno Friend/Colleague; Sound Editor n I met Lee Dichter in the mid-'70s while he was working at his father Murray's post- sound studio, Photo-Mag. I was introduced to Lee by his brother Mark, who was my sponsor into the New York film union.