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9 Q4 2016 / CINEMONTAGE VOL 5 NO 4 / Q4 2016 Editor – Tomm Carroll Art Director – Wm. Stetz/Stetz Design Accountant – Meleney Humphrey Proofreaders – Bill Elias, Edward Landler, Larry J. Tazuma COLUMNISTS Post Script – Tomm Carroll From the National Executive Director – Cathy Repola Labor Matters – Jeff Burman CONTRIBUTING WRITERS Laura Almo A.J. Catoline Rob Feld Michael Goldman Joseph Herman Kurt Kassulke, CAS Mel Lambert Edward Landler Betsy A. McLane Barbara Pokras, ACE Emlyn Pugh Peter Tonguette CONTRIBUTING PHOTOGRAPHERS John Clifford Martin Cohen Christopher Fragapane Wm. Stetz ADVERTISING SALES IngleDodd Media Dan Dodd 310-207-4410, ext. 236 dan@ingledodd.com EDITORIAL OFFICES 7715 Sunset Boulevard, Suite 200 Hollywood, CA 90046 Phone – 323.876.4770 or 800.705.8700 Fax – 323.876.0861 E-mail – CineMontage@editorsguild.com Website – www.CineMontage.org PUBLICATIONS COMMITTEE A.J. Catoline (co-chair) Kevin D. Ross (co-chair) John Axelrad, ACE Jeff Burman Glenn Morgan, MPSE Frank Morrone, CAS, MPSE Richard Sanchez Molly Shock, ACE CINEMONTAGE (ISSN 2165-3526) is published quarterly by the Motion Picture Editors Guild, IATSE Local 700, 7715 Sunset Blvd., Hollywood, CA 90046. Periodicals Postage paid at Los Angeles, CA. SUBSCRIPTIONS: $10 of each Editors Guild member's annual dues is allocated for a subscription to CINEMONTAGE. POSTMASTER: Send address changes to CINEMONTAGE, 7715 Sunset Blvd., Suite 200, Hollywood, CA 90046. The opinions expressed in this publication do not necessarily represent the official policy of the Editors Guild. CINEMONTAGE will not accept advertising from nonsignatory companies that perform bargaining unit work. We welcome editorial submissions and press releases. Contact Tomm Carroll, Editor, at tcarroll@editorsguild.com or at 323-876-4770, ext. 222. Copyright © 2016 The Motion Picture Editors Guild Printed by California Offset Printing, Inc. CINEMONTAGE by Tomm Carroll A t long last, one of the nastiest, most debasing and divisive presidential elections in the modern era has finally come to a stunning conclusion. And satisfied with the results or not, one thing can be agreed upon: This was a referendum on change. Apparently not the "Change We Can Believe In" that we voted on eight years ago, but a change from that change. It seems like change ain't always all it's cracked up to be… Let's hear it for staying the course, and longevity even. This is a theme reflected in several articles in this issue of CineMontage. First and foremost is Laura Almo's article on "The 100 Club" — a group of television editors who have accomplished a not-all-that-common achievement: cutting a hundred or more episodes of a single one-hour drama. When editor Greg Gontz contacted me a year ago to let me know he had just cut his 100th episode of the series NCIS, we started talking about that feat and wondering just how rare it is. Greg did some research and found that there were more than just a handful throughout the history of TV's one-hour dramas who reached or surpassed that number of episodes. Then Laura got to work tracking down and interviewing the living "club members," including Karen Stern, ACE, who, like Greg, is still editing the show (Law & Order: Special Victims Unit) for which she reached the century mark. Also interviewed in the article are Ellen Ring Jacobson and Janet Weinberg, ACE (both 7th Heaven), and Jacque Toberon (ER). Legendary and award-winning film editor Jerry Greenberg, ACE, is another one in it for the long haul. Greenberg got his start in post-production in New York City over 50 years ago and has nearly 50 titles to his credit, including Apocalypse Now (1979), Kramer vs. Kramer (1979) and the picture that won him his Oscar, The French Connection (1971). The latter film was released 45 years ago this fall, which prompted me to assign writer Michael Goldman to sit down with Jerry and discuss his lengthy career. Despite turning 80 this year, Jerry is not done with editing just yet. He cut last year's remake of Point Break, and tells Michael that he remains available for work. One who is not available for work anymore, however, is Ron Kutak, who retired from his three- decades-plus career as National Executive Director of the Motion Picture Editors Guild on November 1. Our fearless leader went out with a bang — a gala at the downtown LA art deco supper club Cicada in mid-September. Coverage of that event, as well as a special section honoring and celebrating Ron and his groundbreaking accomplishments for the Guild, its members and the national post-production community — including testimonials from his colleagues — can be found in these pages. And finally, our cover story — New York writer Rob Feld's Q&A with picture editor Jennifer Lame and supervising sound editor Jacob Ribicoff about their latest project, Kenneth Lonergan's Manchester by the Sea — splits the difference between change and not. Jacob has a 10-year relationship with the director, while Jennifer, a longtime fan of Lonergan's work, was delighted to be working with him for the first time…but given their mutual obsession with "getting it right," likely not the last. At presstime, Lame received a nomination for an Independent Spirit Award for editing Manchester. f Change Not POST SCRIPT