Issue link: https://digital.copcomm.com/i/1542296
63 W I N T E R Q 4 I S S U E I N M E M O R I A M 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 FRANK ALBA MAY 20, 1946 – SEPTEMBER 16, 2025 CATEGORY NOT SPECIFIED 64 YEARS A MEMBER STEPHEN BALDWIN NOVAMBER 21, 1940 – OCTOBER 14, 2025 ASSISTANT EDITOR 57 YEARS A MEMBER DAVID BEHLE AUGUST 27, 1960 – OCTOBER 25, 2025 SOUND EDITOR 35 YEARS A MEMBER GARY CHANDLER MAY 30, 1937 – AUGUST 9, 2025 WEEKLY EDITOR 51 YEARS A MEMBER RICHARD DAVIS OCTOBER 31, 1939 – SEPTEMBER 15, 2025 FILM TECHNICIAN 58 YEARS A MEMBER SHARON DOMINEY OCTOBER 19, 1950 – SEPTEMBER 2, 2025 CATEGORY NOT SPECIFIED 53 YEARS A MEMBER ROBERT EWING JANUARY 12, 1948 – SEPTEMBER 2, 2025 SOUND EDITOR 51 YEARS A MEMBER KAREN HATHAWAY MAY 14, 1966 – AUGUST 27, 2025 ASSISTANT EDITOR 33 YEARS A MEMBER VIVIAN HENGSTELER AUGUST 10, 1945 – SEPTEMBER 2, 2025 NEGATIVE CUTTER 57 YEARS A MEMBER CHARLES HERON APRIL 28, 1968 – SEPTEMBER 19, 2025 EDITOR 20 YEARS A MEMBER FLOYD JONES OCTOBER 3, 1945 – AUGUST 1, 2025 FILM TECHNICIAN 56 YEARS A MEMBER BARBARA KAY FEBRUARY 10, 1957 – SEPTEMBER 12, 2025 FILM TECHNICIAN 46 YEARS A MEMBER DOUGLAS MATHESON APRIL 21, 1977 – SEPTEMBER 5, 2025 EDITOR 10 YEARS A MEMBER GEORGE NEEL AUGUST 6, 1952 – AUGUST 14, 2025 APPRENTICE EDITOR 45 YEARS A MEMBER WALTER NOLAN JANUARY 29, 1925 – AUGUST 22, 2025 CATEGORY NOT SPECIFIED 72 YEARS A MEMBER BARBARA RILEY OCTOBER 22, 1945 – NOVEMBER 1, 2025 FILM TECHNICIAN 60 YEARS A MEMBER DOUG TURNER JULY 17, 1931 – MAY 5, 2025 T he soundscapes conjured by Brit- ish-born sound re-recording mixer Doug Turner range from the whir of whitewater rapids of "Deliverance" (1972) to the clang of swords and shields i n " E x c a l i b u r " ( 1 9 8 1 ) t o t h e m y r i a d moody sounds in the classic television se- ries "The X-Files." No matter what sort of sound world he sought to create, Turner, who died on May 5 at the age of 93, approached his work with professionalism, good taste, and an abun- dance of charm. "He enjoyed working with directors, and figuring out the moods, the soundscapes, and their goals with a film, and then col- laborating with the sound supervisor and making sure that they got the sound the director wanted," said his widow, Justine Turner. "He loved the people he worked with. He always used to say about his work: 'It's not a job — it's my hobby.' He loved what he did." And the people Turner worked with loved their colleague in return: In the course of a career in motion pictures that ran from the early 1960s to the turn of the millennium, Turner served as a dubbing or re-recording mixer on numerous films for leading directors. His collaborators included Golden Age veterans such as Otto Preminger ("Rosebud") and Blake Edwards ("The Return of the Pink Panther"), as well as the leading lights of the British New Wave, among them Lindsay Anderson ("O Lucky Man!"), Ken Russell ("Savage Messi- ah"), and David Greene ("I Start Counting"). He also frequently teamed with American directors who found themselves working on the British Isles, including with Robert Altman on "Images" (1972) and Richard Donner on "The Omen" (1976). Above all, Turner relished his collab- orations with John Boorman on a series of films that included "Deliverance" and "Excalibur," and David Lynch, with whom he collaborated on the late auteur's first studio production, the true-life tale "The Elephant Man" (1980), starring John Hurt. In each case, Turner appreciated the sound knowledge of his directors. In the case of "Deliverance," Justine Turner said, her husband used innovative means to create the sonic environment of the film, which focuses on a group of ill-equipped but confident urbanites (Jon Voight, Burt Reynolds, Ronny Cox, and Ned