Issue link: https://digital.copcomm.com/i/1536017
WILLIAM STEINKAMP, ACE JUNE 9, 1953–MARCH 25, 2025 was more leisurely than it is today. We had maybe three weeks to complete a one-hour program. But we tried to keep the quality as high as we could; we just treated it like a film mini-feature." In 1986, Walt Disney Studios brought on Hall as vice president of postproduction, and within four years, the company had pro- moted him to head of editorial. "That was basically an executive position — a 'suit,' if you will," Hall said. Having attained success both in the cut- ting room and the executive suite, Hall was not done yet. Following his retirement from work in motion pictures and television, Hall took on the role of senior lecturer at the USC School of Cinematic Arts. "When he retired from motion pictures and had the chance to go to USC, it gave him another way to give back," Teddy Hall said. "It was really a fluke that he got there. He had a friend, Jim Nelson, who was asked by USC to teach a class there. Jim, being very humble, said he didn't think he could do it, but he called on Don. He said, 'Go down there — there's a position to teach a class.' I know Don was a little hesitant at first, but he went down and taught that first year and just absolutely loved it. I think he ended up with 22 years down at USC." Hall also relished his membership in the Academy of Motion Picture Arts and Scienc- es and served on its Board of Governors for 16 years. "We used to go to the Academy's [Samuel] Goldwyn Theater every weekend and see maybe three or four movies," Teddy Hall said. "They showed two on Saturday and two on Sunday back in the day, and we had the best time seeing a lot of movies." In 2006, he was awarded the Academy's John Bonner Medal of Commendation. Reflecting on his accomplishments to CineMontage in 2011, Hall said with typical modesty: "I have many to thank for the successes I have enjoyed during my long career, from supporters at the beginning to each and every person who has worked beside me. Ours is a collaborative business; the work is only as good as those who sur- round you." In addition to his wife, Don Hall is sur- vived by their son, two grandchildren, and two great-grandchildren. ■ Peter Tonguette P icture editor William Steinkamp, ACE, led a life defined by collabo- rations. Steinkamp, who died on March 25 at the age of 71, was one half of one of the most unique picture editing partnerships in mod- ern Hollywood: On numerous films from the early 1980s through the early 1990s, Steinkamp was paired with his father, vet- eran picture editor Fredric Steinkamp. That collaboration led to other collaborations. As he acquired credits and respect within the industry, the younger Steinkamp de- veloped fruitful working relationships with leading directors — first with the directors he worked with in tandem with his father, most notably Sydney Pollack, and later with the directors he worked with on his own, including Gary Fleder and Damian Lee. No matter whom he was working with in or out of the cutting room, Steinkamp earned a reputation for his editorial excel- lence, consummate professionalism, and all-around good nature. "Bill had the uncanny ability to navigate through literally miles of footage with precision and care," said Michael Tronick, ACE in a statement to CineMontage. With Steinkamp and Harvey Rosenstock, ACE, Tronick co-edited Martin Brest's acclaimed 1992 drama "Scent of a Woman." "[Bill] deliberated over every splice — yes, this movie was cut on film — and his choices were impeccable." T ro n i c k a d d e d , " B i l l to o k t h e wo r k s e r i o u s ly b u t d i d n' t h e s i tate to i n j e c t m o m e n t s o f l e v i t y a n d h u m o r d u r i n g those long editorial days and nights. His laugh was infectious and resonated up and down the long hallways of the Lantana cutting rooms." One of f ive children born to Fredric Steinkamp and his wife Janet, William grew up in a household whose service to the film industry was long and distinguished. In ad- dition to his father, whose credits as picture editor included the classic MGM musical "The Unsinkable Molly Brown" (1964) and John Frankenheimer's racing picture "Grand Prix" (1966), his grandfather — Fredric's father — was a pioneering sound mixer. Even so, William's early aspirations revolved around an activity that took place far from cutting rooms on studio lots. "My dad was a big golfer," said his son, Jeff Steinkamp, noting that William attend- ed college on a golf scholarship. "But he always was interested in film. At that time, everything was on film, so the only way to learn was to work in post houses." Having decided to follow in the foot- steps of his father and grandfather, William entered the film business as an assistant ed- itor. He served in that role on two films that were edited by his father: Pollack's racing drama "Bobby Deerfield" (1977) starring Al Pacino, and Billy Wilder's penultimate film, "Fedora" (1978), starring William Holden. "He was very talented at it, and he made the jump to editor pretty quickly," son Jeff said. Within a few years of those credits, William began serving as co-editor with his renowned father. "They worked really well together," said Jeff. "They each had their strengths." Their early films as an editing duo included James Caan's "Hide in Plain Sight" (1980), but soon they were collabo- rating with Pollack, a director with whom the elder Steinkamp had been working for over a decade. The first Pollack-Steinkamp- Steinkamp picture was fated for classic 45 S U M M E R Q 2 I S S U E I N M E M O R I A M