Issue link: https://digital.copcomm.com/i/1188730
92 C I N E M O N T A G E B O O K R E V I E W (1976). For the latter, Herrmann con- vinced Hirsch to cut the negative before the score was recorded. The recording session in a medieval church in England w a s a rd u o u s, a n d i t p ro v e d a l m o s t impossible to achieve a live orchestral match with one of the film's key sections. After the very successful mixing session in New York, it was Hirsch who stayed to the last with Herrmann, who could not stop crying. Only later did Herrmann explain that, "'When the picture ended and I realized I was done, I felt as if the characters in the picture had left me.'" Brian De Palma's friendship with George Lucas led to a call from Lucas to join the "Star Wars" post-production team. Hirsch admits to a bit envy of the camaraderie among the USC Film School graduates working in the Bay Area – George Lucas, Ben Burtt, Hal Barwood, Bob Dalva, Walter Murch, Matt Robbins, and most importantly for Hirsch, Mar- cia Lucas. Marcia was encouraging to Hirsch. She volunteered to give up her KEM for Hirsch's Moviola when the enor- mous amount of footage overwhelmed his rusty Moviola skills. Hirsch also was privy to heated editing room discussions between Marcia and George Lucas, some of which moved from the professional to the personal. The "Star Wars" chapters of "A long time ago..." exemplify the ways Hirsch maintains an awareness of his audiences. Hirsch's deep love for his work, as well as his candid personality, will be engaging for many sorts of readers. Professionals will appreciate and sympathize with his varied editing challenges. General readers will find straightforward and well-placed explanations (for exam- ple upright vs. flatbed vs. nonlinear editing machines) to painlessly lead them through moviemaking jargon. As the publisher's promo material states, the book is, "A must-read collectors' item for 'Star Wars' followers." Hirsch's editing skills cut across genres; drama, thriller, sci-fi, action, comedy, and musicals. His book assesses each experience. Even the most arduous jobs, like the Steve Martin/John Candy comedy "Trains, Planes & Automobiles" (1987) are bedecked with humor. Di- rector John Hughes shot so much that dailies for one basically motionless, silent shot ran for more than two hours. The previews were so bad that audiences walked out. Hiring three additional ed- itors met the release date, but the good working relationship between Hughes a n d H i r s c h , e s t a b l i s h e d o n " Fe r r i s Bueller," was over. The director refused to show up for the final cut and ordered Hirsch to work from notes. This had nev- er happened to Hirsch, and deeply hurt, the editor came up with a motto: "Don't take it personally; they don't consider you a person." His book makes clear that Hirsch considers people very important, and he praises the many who helped him, treat- ed him with dignity, and respected his many original ideas. Throughout, Hirsch also gives appropriate credit and love to his wife of many years, Jane. These merits make the last chapters of "A long time ago in a cutting room far, far away…" especially noteworthy. Lean Times, A Fallow Stretch, and The Elder Statesman chronicle one of the industry's very ugly aspects – the shutting out of highly tal- ented people because they are no longer young. Hirsch rides out these trials with characteristic style, concluding that there is much satisfaction to be found in doctoring an edit and especially in mentoring younger editors. Hirsch's writing allows readers to become part of filmmaking life behind the scenes, and he does this with the flair and thoughtfulness that characterize his best editing. A long time ago in a cutting room far, far away….My Fifty Years Editing Hollywood Hits – Star Wars, Carrie, Ferris Bueller's Day Off, Mission: Impossible, and More By Paul Hirsch Chicago Review Press, 2019 Hardcover, 362 pages, $30.00 Betsy A. McLane is a freelance writer specializing in film. Paul Hirsch editing on his moviola.