Issue link: https://digital.copcomm.com/i/1513564
T H E G U I L D ' S M E M O R I A L R O L L C A L L TINECY BURNETTE APRIL 25, 1941 – NOVEMBER 14, 2023 JOB CATEGORY UNSPECIFIED 53 YEARS A MEMBER WARREN H. CANTRELL JULY 24, 1984 – NOVEMBER 2, 2023 RE-RECORDING MIXER 2 YEARS A MEMBER DAVID CHURCHILL MAY 1, 1945 – OCTOBER 24, 2023 STORY ANALYST 42 YEARS A MEMBER WALTER DESIND MAY 8, 1931 – NOVEMBER 8, 2023 JOB CATEGORY UNSPECIFIED 70 YEARS A MEMBER VINCENT DOINO MAY 3, 1939 – OCTOBER 13, 2023 JOB CATEGORY UNSPECIFIED 57 YEARS A MEMBER MARTIN FOX NOVEMBER 14, 1938 - OCTOBER 30, 2023 LIBRARIAN 63 YEARS A MEMBER JUDI FRENCH SEPTEMBER 25, 1946 – OCTOBER 9, 2023 STORY ANALYST 48 YEARS A MEMBER JOANN LAUB APRIL 19, 1946 – SEPTEMBER 15, 2023 ASSISTANT EDITOR 36 YEARS A MEMBER LAWRENCE MANN JULY 14, 1955 – NOVEMBER 15, 2023 SOUND EDITOR 46 YEARS A MEMBER STEVEN C. WEISBERG JANUARY 16, 1955 – OCTOBER 16, 2023 EDITOR 34 YEARS A MEMBER scenes he screened were edited. "Back to the Future," which Schmidt co - edited with Harry Keramidas, ACE, inaugurated what became one of the most noted editor-director collaborations in Hollywood. "That's where it became very obvious that we were a really good fit," Zemeckis said. "Cinematically, he finishes my sentences." Zemeckis said that as his films became more accomplished, the process of editing was less about cutting around problems than making the film sing. "[Artie] comes in and you're watching his cut and you go: 'Yup, he cut to that reaction in the perfect place. You know what — that's better than I ever could have imagined,'" Zemeckis said. "That's the real collaboration." Zemeckis singles out Schmidt for praise on "Roger Rabbit," which melded together live-action and animated footage in what was then a groundbreaking fashion. "We were literally editing dierent color leader, just cutting dierent color leader together with dialogue track, to start to form the movie," Zemeckis said. "Every time some animation would come in, everything had to be re-edited." In a profile in CineMontage, Schmidt recalled the precision required to cut in animated footage which had cost a fortune to produce. "It was almost like cutting neg- ative," Schmidt recalled. "I asked if I could have an extra eight frames on every shot, just in case. 'They said, 'Absolutely not!'" Zemeckis said of Schmidt's work on the film: "If there was ever someone who deserved an Academy Award, it was Artie for that movie, 100 percent." Th e i r wo r k co n t i n u e d o n a s l ate o f ambitious, eclectic, and challenging films, including "Death Becomes Her" (1992), "What Lies Beneath" (2000), and "Cast Away" (2000). "He could find the perfect moments, the perfect parts of a perfor- mance, even when the actor wasn't doing anything," Zemeckis said. "He never left anything great on the editing room floor — he found it all." After the last two films, Schmidt began the process of stepping away from the business, though Zemeckis lured him back into his cutting room on the 2012 drama "Flight" — the director's first live-action film in a number of years. "I had Artie come in a little bit just to make sure we weren't going down the wrong road with anything," Zemeckis said. "I'd been doing the digital movies." Schmidt's own passion for music meant that he particularly enjoyed placing temp music on his cuts. "He had a fantastic knack for just knowing the right piece of temp mu- sic to put in," Zemeckis said. "You would go, 'Oh yeah, it's going to work so much better now.' . . . It was really like having that second brain — or second heart, maybe." In addition to his wife, Schmidt is sur- vived by his brothers, Ron and Gregory. — Peter Tonguette 66 C I N E M O N T A G E I N M E M O R I A M