Issue link: https://digital.copcomm.com/i/1504875
GREGORY J. HOOPINGARNER JAN. 13, 1990 – NOV. 24, 2022 A ssistant editor Gregory J. Hoop- ingarner, 32, formerly of North C a n to n , O h i o, p a ss e d away o n Thursday, November 24, 2022, in North Hollywood, California. He was born Janu- ary 13, 1990 in Akron, the son of Joseph and Sharon Hoopingarner. Greg was raised in North Canton and g ra d u a te d i n 2 0 0 8 f ro m H o o v e r H i g h School where he played percussion for four years in the band and was a member of the National Honor Society. Greg received his Bachelor of Science degree in film from Full Sail University. After graduation, Greg moved to Cali- fornia and began a career as an unscripted assistant editor, soon joining the Editors Guild and becoming a lead assistant editor along the way. He worked on countless reality and competition shows, including "King of the Nerds," "Wipeout," "Carpool Karaoke," and seven seasons of "America's Got Talent." Greg is fondly remembered by his family, friends, and coworkers for his time outside of the edit bay. He was a devoted skier and member of the Professional Ski Instructors of America since December 2014. Mammoth Mountain held a special place in his heart, and "shredding the gnar" there inspired him to pursue getting a pilot's license to make traveling there easier. Greg was also a roller coaster fanatic and longtime member of the American Coaster Enthusiasts. He proudly celebrated Cedar Point in Ohio as his favorite amusement park in the world. Greg was a passionate Ohio sports fan, investing every possible moment in watch- ing his teams play, and he even trained his dog, Milkshake, to bark when rival team names were mentioned. Greg also loved music and would con- sistently use his vast record collection to introduce friends to new bands. He loved attending shows, no matter the venue size, and he spent a great deal of time creating and sharing eclectic playlists. Whether he was relaxing at home or syncing dailies, mu- sic filled the air. Next time you unexpectedly hear a song you love, perhaps Greg sent it to brighten your day. ■ -Lisa Brzostek turning to Kems and some digital (editing systems). But I loved the feeling of film going through my fingers into a movie. My deciding where to cut, cutting it, clipping it. I just loved that experience. I could never adjust to working on a Kem." And she was very particular about her grease pencils. Editor Scott Vickrey recalled working with her on "Starting Over." "I assisted Marion on that film. It was the biggest job I'd had until that point. She took a chance on me and I always appreci- ated that. "She always had to have her grease pen- cils sharpened before she came into work, and if they were not sharp, she would lit- erally throw them at me. She told me at the start of the project to make sure I set up the editing room as simply as possible. So that if I died during the editing, someone could take over for me without skipping a beat. "She and the director, Alan Pakula, would love to have a gin and tonic toward the end of the day, and I was in charge of making them. If it happened to be a Friday or an evening when I wanted to get out at a decent hour, I would make the drinks a little stronger than usual. That always seemed to do the trick. "Marion was an excellent editor and I learned so much from her — I think more than from any other editor I assisted. She was very generous with letting me cut scenes, bringing me into the process and asking me what I thought. I would have loved to work with her again, but at the time, I was a New Yorker and she was from LA." Retired film editor Bill Carruth, who worked with both Marion and Verna Fields, had this to say: "I loved working with Marion. Some of the best years of my life were spent with her and Verna." Kathy Korth, who assisted Marion on "Comes a Horseman" and "Starting Over," put it this way: "Marion did not suffer fools, but it made me a much better assistant editor, working for her." It was on the film "Nighthawks" (1981) that Marion met Virginia (Ginny) Katz, who was to assist Marion on many films before becoming a successful editor herself. "I had two mentors: My father (editor/ producer Sidney Katz) and Marion," Ginny said. "Marion showed me what it's like to be a working woman in a predominantly male world. There were few woman editors at that time. We worked together for many years. Marion was a great editor and an even greater person. We stayed in touch these past years, and I often visited her and her wife Diane in San Diego, where they lived. I loved her and will miss her incredible wit and sharp sense of humor." Marion is survived by her wife, Diane. ■ -Rachel Igel 49 F A L L Q 3 I S S U E I N M E M O R I A M