CineMontage

September 2014

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12 CINEMONTAGE / SEP-OCT 14 "When you get together and...you collectively decide something, the power you have...it's huge. And it's so much more powerful than your voice alone in your edit room, complaining about whatever you're complaining about." – Tim Wilsbach (Editor, Hot Set) "To stand up for what you know to be right, that's the best feeling in the world. That's better than a pat on the back, or some pizza at 8 o'clock at night when somebody's trying to get you to work extra hours. When you stand up for what you believe in — and all of your colleagues respect what you've done — that's invaluable." – Jay Conklin (Editor, Hot Set) These professionals work in darkened rooms rather than beneath Klieg lights. Paparazzi do not hound them. But the sisters and brothers who stand up to lift standards of employment for folks working in post-production are stars to us. I'm excited that this documentary will give them their star turn. On Labor Day weekend, look for a link to Post, Proud on www. editorsguild.com or go to www.postproud.org. f GET TING ORGANIZED There were a few mistakes in the JUL-AUG 14 issue of CineMontage. In the article "Foster the People" on page 32, editor Debra Weinstein and assistant editor Sandra Angeline were misidentified as each other in the photo captions for the story. They are pictured here, and correctly identified. In the same article, it was misstated that Sharon Smith Holley was a visual effects editor on over 50 features. In fact, while she has worked on over 50 projects in her career, Smith Holley was a visual effects editor on 18 films. Also, in the "Labor Matters" column on page 50, economist Thomas Piketty's name was misspelled in the photo caption. CineMontage regrets the errors. Debra Weinstein, left, and Sandra Angeline on the set of The Fosters. Photo by Gregory Schwartz EDITORIAL MALFUNCTIONS conceptual level, The Final Cut is about the sheer power of editing. One is left to wonder what kind of "rememory" Alan Hakman (is that the name of a distressed editor, or what?) would have "cut" for Robin Williams in The Final Cut. Williams, of course, was much more than just a well-paid, multi-talented, troubled performer. He also gave back. With fellow comedians Billy Crystal and Whoopi Goldberg, he hosted many Comic Relief telethons since the mid-1980s, raising more than $80 million for America's homeless, and even testified on their behalf before the US Senate Health and Human Services panel in 1990. He also performed charity work for the Christopher & Dana Reeve Foundation, the Livestrong Foundation and the St. Jude Children's Research Hospital, among others. Since the early 2000s, he performed before US servicemen and women on USO tours, with numerous stops throughout Europe, the Middle East and even the United States. A union man, he could also be found walking the picket line (and bringing bags of bagels to his fellow picketers) during the Writers Guild strike in 2007-2008. My personal memory of Robin Williams was during a brief encounter in late 1993. As the then-editor of DGA Magazine, I, along with a couple of colleagues, were interviewing Steven Spielberg about his upcoming magnum opus, Schindler's List, in a conference room at his Amblin Entertainment compound on the Universal lot. In the middle of a serious Q&A session, the door suddenly opens and in bursts Williams (a good friend of Spielberg's since they made Hook, 1991), who, in the accent of a Bronx butcher, called out, "Mr. Spielberg? Mr. Spielberg? I gotta delivery of some Jurassic Pork for ya; where d'ya want it?" (playing off the title of the director's blockbuster hit that past summer). When we all (Spielberg included) stopped laughing, Williams apologized for the intrusion, introduced himself with a handshake to each of us, let fly with another couple one-liners, and then disappeared out the door as fast as the Genie he played in Aladdin (1992). Godspeed, Robin Williams — with the emphasis on speed. The world is now an even less-funny place. f POST SCRIPT Post, Proud is the story of bold brothers and sisters whose pride in their craft, pride in themselves, and commitment to one another empowered them to make dramatic change in their working lives. CONTINUED FROM PAGE 5 CONTINUED FROM PAGE 6 One is left to wonder what kind of "rememory" Alan Hakman would have "cut" for Robin Williams in The Final Cut.

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