Issue link: https://digital.copcomm.com/i/1061972
122 CINEMONTAGE / Q4 2018 122 CINEMONTAGE / Q4 2018 to aspire to work. To a young filmmaker fresh out of school, sound mixing was a mysterious and, although highly technical, almost alchemical process — and one that was absolutely fascinating to me. It was thrilling, just a short time later on Arthur Penn's Dead of Winter, to find myself in the studio watching and listening to him work, and beginning to understand what he does. It was like fine-tuning one's ability to hear and to better understand the potential and the poetry of film sound. That process continued unabated over the years, both in the studio and the movie theatre. And it is no less thrilling now. When we had the opportunity to do so again more recently, with Jon Stewart on Rosewater, it was an absolute joy, especially watching Jon's wide-eyed sense of wonder and joy that I had experienced so long ago. So, here's to Lee, a master of his craft who has opened up the possibilities of moviemaking for so many. Respect. Jay Rabinowitz, ACE Friend/Colleague; Picture Editor n I met Lee Dichter in the infancy of my career. He was already an accomplished master of the mixing desk. We worked at first on documentaries and later began working on features. In those days, sound editors had assistants (one per editor). They were assigned reels and they cut the dialogue, the effects, the Foleys, and sometimes the ADR (if there was any) and the music. They both went to the mix for their reels. As an assistant, I worked for several editors who, through laziness or generosity (no doubt a bit of both), indulged my proclivity for the thankless work of dialogue editing. Being witness to a sound mix is a stultifying affair. Sitting through dialogue pre-mixes for most is a circle of hell, especially for dialogue editors, as they have little to do until they are accused of idiocy. Unless, that is, if you are working with Lee Dichter. I recall feeling thrilled, energized, even elated as he and I improvised and collaborated our way through the tracks. He made me a partner in the process and made me share a feeling that the dialogue track of a film was an aria that we helped sing to the audience — that the human voice was infinite in variety and emotion, and capable of profound beauty. Besides that, he was a bit of a mixing magician of profound dexterity. (I am still baffled as to how he used the equipment then available to filter pink noise to sound like a cicada.) As you well know, he is also a lovely fellow who, thankfully, is no saint. Be it known that he is capable of a good zinger. Fred Rosenberg Friend/Colleague; Sound Editor n L ee Dichter is a consummate artist, a dedicated perfectionist, and a profoundly sensitive human being. He brings that exquisite combination to every film he works on, big or small. His intense focus and connection with the films he mixes are what bring them to the highest level. We have been fortunate to work with Lee on almost all of our feature documentary films, starting in 1984 with America and Lewis Hine to our most recent film, Ordinary Miracles: The Photo League's New York. Collaborating with Lee is always a rewarding experience because he turns problem-solving into an art. Lee is always a pleasure to be with, and his presence in a recording studio or screening room has a welcome way of soothing jittery nerves and instilling confidence. Thank you for your genius, Lee, and for your friendship. We will be forever in your debt. Nina Rosenblum & Daniel Allentuck Friends/Colleagues; Producers, Directors, Writers n T he purpose of post-production is to make the best possible film from all the material available. In the more than four decades that I have been working with Lee Dichter, not only has he relieved the anxiety of creating a soundtrack, but he has always delivered magical and flawless results. Well known for possessing an incredible gift for blending dialogue, music and sound effects, he also has the perfect people skills to inspire trust and affection from everyone with whom he works. I have often thought I have enjoyed editing so much that, given the chance, I would do it all over again. In that case, I would insist on Lee Dichter joining me. Steve Rotter Friend/Colleague; Picture Editor n I am very lucky to have had the pleasure to work with Lee for over 30 years. In many ways, he was not only my teacher and trusted advisor but, most importantly, my friend. Never did a day pass that he didn't ask about how my family was doing. He is a kind, gentle and caring soul that made coming to work every day that much more enjoyable. Everyone wanted to work with Lee, to the point where scheduling did not seem possible. He always had a way of keeping everything positive — "We'll work it out" — even if I was skeptical. Lee was always giving of his time and treated everyone (the intern, the cleaning crew, the director) with the same respect and love as if he or she was a family member. He was always willing to let someone sit with him behind the board to learn and watch him perform his magic. I know many sound editors and mixers that have been fortunate to use their time with Lee to better hone their craft, or to start or further their own careers. I will forever be indebted to Lee for everything he has done for me in my