Issue link: https://digital.copcomm.com/i/1543164
52 C I N E M O N T A G 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 WARREN BINDER ASSISTANT EDITOR SEPTEMBER 25, 1982 - NOVEMBER 17, 2025 5 YEARS A MEMBER SEAN FOLEY ON-CALL EDITOR JULY 6, 1967 - NOVEMBER 28, 2025 23 YEARS A MEMBER RICHARD HEMPHILL FILM TECHNICIAN JULY 22, 1940 - DECEMBER 20, 2025 60 YEARS A MEMBER RICHARD KAHT OPERATION SYSTEM COORDINATOR APRIL 10, 1970 - DECEMBER 3, 2025 8 YEARS A MEMBER LEONARD KORNBERG STORY ANALYST FEBRUARY 8, 1950 - JANUARY 3, 2026 40 YEARS A MEMBER WILLIAM LEHMAN ASSISTANT EDITOR FEBRUARY 2, 1983 - DECEMBER 6, 2025 20 YEARS A MEMBER PHILIP PARKER ASSISTANT EDITOR FEBRUARY 5, 1942 - NOVEMBER 27, 2025 54 YEARS A MEMBER BARBARA RILEY FILM TECHNICIAN OCTOBER 22, 1945 - NOVEMBER 1, 2025 60 YEARS A MEMBER RICHARD SANDOVAL CATEGORY UNSPECIFIED APRIL 10, 1944 - NOVEMBER 9, 2025 55 YEARS A MEMBER JESSE TORRERO FILM TECHNICIAN SEPTEMBER 1, 1933 - DECEMBER 12, 2025 59 YEARS A MEMBER a transfer man at Filmsounds at 41st and Lexington. They worked on the music and sound effects for "The Defenders" with composer Frank Lewin. After a year, Nor- man urged Dan to get into sound editing, and his first editing and mixing project was a commercial working with Dick Vorisek. As Frank Lewin became Dan's mentor, he encouraged Dan to work his way in to a steady career in the sound editing business. Eventually, he was recruited to start a sound editing group at Magno Sound where he worked for a few years, then started a group at TransAudio. Over the years, some producers and directors Dan worked with encouraged him to start his own company, which he did in 1979. It was called Hastings Sound Editorial and was situated at various film sound houses in Manhattan at various times, including the Brill Building. Always curious about the newest audio technology (as well as any other gadget), Dan was an early adopter in digital sound for film starting in the '80s. He also men- tored several talented sound editors, and many of them have entertaining stories about working with such a generous man. H a v i n g s u p e r v i s e d m a n y f i l m s f o r Woody Allen and Brian De Palma, Dan was proud that he never had a spotting session with De Palma, which meant the director had a lot of trust in Dan's creativity. This col- laboration led to Mr. De Palma mentioning at times that Dan was a contributing factor in his choice to make the film "Blowout" a story revolving around a sound expert. While Dan was working on De Palma's film "The Untouchables," he got a call from the producers of another film for which Dan, because of miscommunication, had thought he didn't get the job. With his great man- aging skills, Dan was able to complete that second film even as it was conflicting — and "Dirty Dancing" became a hit coming-of- age movie. Outside of his work, Dan loved carpentry and working with wood. He built a lot of his own furniture, and in the early '80s, he designed and built a family cabin in the Berkshires. The family also enjoyed world travel and the arts. They frequented Lincoln Center for a symphony or ballet and enjoyed many performances at Tanglewood. Dan and Shirley lived a quiet non-cha- otic life, staying entertained with the latest smart home technology, puzzles, and indus- try screeners. They lived in Hastings-on-Hudson, New York since 1960. His daughter, Lynn Sable, learned his craft and worked with him for the first 20 years of her career. After Dan retired in 2000, Lynn continued working in New York and then Hollywood until she retired from Local 700. Lynn and her hus- band, Daniel Sharp, survive Dan and live on the West Coast. ■ — Lynn Sable