Film| In memoriam| Kultura

Dede Allen 1923 - 2010.

Srđan Mitrović RSS / 19.04.2010. u 09:14

sjff_04_img1420.jpgOtišao je još jedan moj idol. Otišla je doktorka za montažu. Hvala ti Dede što si pokazala kako se prave filmovi.

 

 

 

 

 

 

 

 

 

 

Odabrana filmografija.

Nominacije za Oskara

Ostale nagrade i nominacije

  • 1962 – The Hustler (nomiinacija) American Cinema Editors (ACE) Eddie Best Edited Feature Film
  • 1968 – Bonnie and Clyde (nomiinacija) American Cinema Editors (ACE) Eddie Best Edited Feature Film
  • 1975 – Dog Day Afternoon BAFTA Film Award - Best Editing
  • 1982 – Reds (nomiinacija)American Cinema Editors (ACE) Eddie Best Edited Feature Film (w/ co-editor Craig McKay)
  • 1982 –  Women in Film Crystal Award[6]
  • 1994 – American Cinema Editors (ACE) Career Achievement Award
  • 1999 – Hollywood Film Festival Outstanding Achievement in Music Editing
  • 2000 – Las Vegas Film Critics Association Awards Career Achievement Award


 



Komentari (45)

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Bili Piton Bili Piton 09:44 19.04.2010

Bas mi je



zao....

Na ovoj slici gore bas lepo izgleda, fina teta je izgleda bila....
Srđan Mitrović Srđan Mitrović 10:16 19.04.2010

Re: Bas mi je

fina teta je izgleda bila....

fina teta koja je pomerala granice.
BebaOdLonchara BebaOdLonchara 11:49 19.04.2010

Re: Bas mi je

fina teta koja je pomerala granice.

fine tete obično pomeraju granice
babmilos babmilos 09:56 19.04.2010

what is and what will never be

kao laiku mi izgleda da je teta sa fotografije morala da voli montažu, doima se kao gadan posao. nije to kao sad, sedi sine u final cut i igraj se, šta te briga, bjelogrlić nema ni scenario.
Srđan Mitrović Srđan Mitrović 10:11 19.04.2010

Re: what is and what will never be

kao laiku mi izgleda da je teta sa fotografije morala da voli montažu,

znaš kako se kaže: montaža je način života
ja sam uvek voleo klasičnu montažu na filmskoj traci nego ove jebene kompjutere.
babmilos babmilos 10:15 19.04.2010

Re: what is and what will never be

Srđan Mitrović
ja sam uvek voleo klasičnu montažu na filmskoj traci nego ove jebene kompjutere.

... možda zato što režiseri tada nisu mogli da tek tako kažu "ah, rešićemo to u montaži"? (imaj u vidu da sam subjektivan, moja svastika - divno jedno dete - studira montažu, pa valjda po prirodi stvari mrzi režisere)
Srđan Mitrović Srđan Mitrović 10:17 19.04.2010

Re: what is and what will never be

moja svastika - divno jedno dete - studira montažu, pa valjda po prirodi stvari mrzi režisere)

pozdrav za svastiku
potpuno je razumem.

babmilos babmilos 10:29 19.04.2010

Re: what is and what will never be

ako je suditi po teti dede, montaža je dobra po zdravlje. 93 godine, više i od blejka karingtona...
ivana23 ivana23 10:38 19.04.2010

Re: what is and what will never be

babmilos
ako je suditi po teti dede, montaža je dobra po zdravlje. 93 godine, više i od blejka karingtona...

87
babmilos babmilos 10:40 19.04.2010

Re: what is and what will never be

odo da spavam...
Bili Piton Bili Piton 13:25 19.04.2010

Re: what is and what will never be

babmilos
rešićemo to u montaži


postoji, pretpostavljam, samo jedna veca laz od toga, a ona glasi "sve ce to biti ok u miksu"...
ivana23 ivana23 10:00 19.04.2010

***

Zaista impresivan opus!

Jelena Pavlović Jelena Pavlović 11:52 19.04.2010

montazerka

Sve sam gledala. Zena je bila fantasticna.
babmilos babmilos 12:04 19.04.2010

a sad profesionalno

dajte malo inside info: šta je uopšte montažerski posao - ko se ne razume izgleda kao da režiser sedi sa strane i govori "seci ovde, seci onde", mogao bi i on to da radi ali ga mrzi, pa onda plati nekog drugog? kad gledate film, kako znate da je montažer dobar?
joseywales joseywales 12:10 19.04.2010

Re: a sad (ne)profesionalno

kad ne primetimo montažu?
Srđan Mitrović Srđan Mitrović 12:11 19.04.2010

Re: a sad profesionalno

ovako: montažer je taj koji pravi film. reditelji u većini slučajeva nemaju pojima o montaži. uglavnom sede i čekaju da montažer ponudi neka rešenja pa da kažu ovo mi se sviđa. a kad im se nešto ne sviđa, onda ne znaju da obrazlože šta je to.
e sad komplikovan je odgovor kako prepoznati dobrog montažera.
pa kad montažer uspe da od govna napravi pitu.
Srđan Mitrović Srđan Mitrović 12:12 19.04.2010

Re: a sad (ne)profesionalno

kad ne primetimo montažu?


kao i za kompozitora, kad ne primetimo muziku...
babmilos babmilos 12:16 19.04.2010

Re: a sad profesionalno

au, to je bre ozbiljno. jel to onda znači da obično režiser ima svog montažera (nešto ne vidim na imdb podatke o montažerima)?
Srđan Mitrović Srđan Mitrović 12:21 19.04.2010

Re: a sad profesionalno

pa naravno da svaki reditelj mora da ima montažera
i česti su primeri da neki reditelji stalno rade sa istim montažerima.
Bili Piton Bili Piton 12:22 19.04.2010

Re: a sad (ne)profesionalno

Srđan Mitrović
kad ne primetimo montažu?


kao i za kompozitora, kad ne primetimo muziku...




Ima filmova koji bas insistiraju na flashy, showy montazi - prva dva koja mi padaju na pamet su Cape Fear (novija verzija) i Natural Born Killers...tu ne mozes da je ne primetis. Mada u oba slucaja montaza radi zajedno s kamerom. Pa i muzikom.
babmilos babmilos 12:27 19.04.2010

Re: a sad (ne)profesionalno

Bili Piton
Ima filmova koji bas insistiraju na flashy, showy montazi - prva dva koja mi padaju na pamet su Cape Fear (novija verzija) i Natural Born Killers...tu ne mozes da je ne primetis.

nisu mi baš pri ruci meni taj montažerski posao izgleda kao robovlasnički sistem.....
Srđan Mitrović Srđan Mitrović 12:28 19.04.2010

Re: a sad (ne)profesionalno

aj montažerski posao izgleda kao robovlasnički sistem.....

samo ako mrziš to što radiš.
montaža je najdivniji posao na svetu.
Srđan Mitrović Srđan Mitrović 12:29 19.04.2010

Re: a sad (ne)profesionalno

ma filmova koji bas insistiraju na flashy, showy montazi -

eto na primer "Oklopnjača Potemkin"
babmilos babmilos 12:33 19.04.2010

Re: a sad (ne)profesionalno

ma verujem da je bilo i robova koji su voleli da gaje petunije... boriš se sa brdom trake, ili terabajtima na usb diskovima (ne smem ni da zamislim mučka koji je montirao avatar, šta je taj radio, mlatarao rukama po sobi? ), u vreme nitrata ni cigar ne smeš da zapališ, a na kraju dođe neki nadobudni programer i kaže "e super su kjubrikovi filmovi!" ja bih provrištao drugi dan...
Srđan Mitrović Srđan Mitrović 12:35 19.04.2010

Re: a sad (ne)profesionalno

montažeri su uglavnom stabilne ličnosti.
joseywales joseywales 12:36 19.04.2010

Re: a sad (ne)profesionalno

Srđan Mitrović
ma filmova koji bas insistiraju na flashy, showy montazi -

eto na primer "Oklopnjača Potemkin"


LOL

jao... jao, kako on montira!

Jelena Pavlović Jelena Pavlović 12:49 19.04.2010

Re: a sad (ne)profesionalno

Nacionalna klasa, montaza - Vuksan Lukovac
Srđan Mitrović Srđan Mitrović 12:51 19.04.2010

Re: a sad (ne)profesionalno

Vuksan Lukovac

legenda.
rapunzel rapunzel 13:07 19.04.2010

Re: a sad profesionalno

au, to je bre ozbiljno. jel to onda znači da obično režiser ima svog montažera (nešto ne vidim na imdb podatke o montažerima)?


neke škole filma imaju nemaju posebne klase za montažu i režiju, već
studiraš režiju i montažu (VGIK).
imaš na imdb-u onoliko montažera, npr. andrija zafranović.
joseywales joseywales 13:14 19.04.2010

Re: a sad profesionalno

babmilos
(nešto ne vidim na imdb podatke o montažerima)?


klikneš "see more" tamo ispod spiska glumaca...
Bili Piton Bili Piton 13:19 19.04.2010

Re: a sad profesionalno



ili odes na full cast & crew (tab levo)
Jelena Pavlović Jelena Pavlović 13:23 19.04.2010

Re: a sad profesionalno

rapunzel
au, to je bre ozbiljno. jel to onda znači da obično režiser ima svog montažera (nešto ne vidim na imdb podatke o montažerima)?


neke škole filma imaju nemaju posebne klase za montažu i režiju, već
studiraš režiju i montažu (VGIK).
imaš na imdb-u onoliko montažera, npr. andrija zafranović.


Neva Habic
bojan ljubomir jugovic bojan ljubomir jugovic 13:25 19.04.2010

Re: a sad (ne)profesionalno

Srđan Mitrović
montažeri su uglavnom stabilne ličnosti.



babmilos babmilos 13:26 19.04.2010

Re: a sad profesionalno

Srđan Mitrović Srđan Mitrović 13:27 19.04.2010

Re: a sad profesionalno

Neva Habic

Slavko Vorkapich
joseywales joseywales 13:12 19.04.2010

editors and directors

glede priče o animozitetu između režisera i montažera, ipak radije verujem da je nešto ovako produkt vizije režisera i umeća montažerke.



p.s.
čak je i spilberg priznao da "ajkula" ne bi ličila ni na šta da nije bilo verne filds...
Srđan Mitrović Srđan Mitrović 13:17 19.04.2010

Re: editors and directors

preporučujem

joseywales joseywales 13:19 19.04.2010

Re: editors and directors

+1

gledao i posedujem
Srđan Mitrović Srđan Mitrović 13:21 19.04.2010

Re: editors and directors

gledao i posedujem

Srđan Mitrović Srđan Mitrović 13:19 19.04.2010

a sad video

Srđan Mitrović Srđan Mitrović 13:25 19.04.2010

i naravno

Srđan Mitrović Srđan Mitrović 14:07 19.04.2010

la times

Dede Allen, the film editor whose seminal work on Robert Rossen's "The Hustler" in 1961 and especially on Arthur Penn's "Bonnie and Clyde" in 1967 brought a startling new approach to imagery, sound and pace in American movies, died Saturday. She was 86.

Allen, who was nominated for Academy Awards for "Dog Day Afternoon" (1975), "Reds" (1981) and "Wonder Boys" (2000), died at her Los Angeles home days after having a stroke, said her son, Tom Fleischman.

Allen was the first film editor -- male or female -- to receive sole credit on a movie for her work. The honor came with "Bonnie and Clyde," a film in which Allen raised the level of her craft to an art form that was as seriously discussed as cinematography or even directing.

"She was just an extraordinary collaborator, and in the course of editing that film, I came to develop confidence in Dede," Penn told The Times on Saturday. "Indeed, she wasn't an editor, she was a constructionist."

The two were "not just collaborators," Penn said, "but deep family friends. We made six films together."

Greg S. Faller, professor of film studies at Towson University in Maryland, said "The Hustler" and "Bonnie and Clyde" "must be considered benchmark films in the history of editing."

"It's hard to see the changes she made because most of what she did has been so fully embraced by the industry," Faller said.

Allen departed from the standard Hollywood way of cutting -- making smooth transitions starting with wide shots establishing place and characters and going on to medium shots and finally close-ups -- by beginning with close-ups or jump cuts. Although these editing methods had been pioneered by the French new wave and some British directors, Allen is generally credited with being the first to use and shape them in American film.

In Sidney Lumet's "Dog Day Afternoon," she employed a staccato tempo, sometimes called shock cutting.

"She creates this menacing quality by not cutting where you'd expect it -- she typically would cut sooner than you might expect," Faller said. "You weren't ready for it."

She would also begin the sound from the next scene while the previous scene was still playing, a technique now standard in film editing.

In all, Allen edited or co-edited 20 major motion pictures over 40 years, but she was most closely identified with Penn and a handful of A-list directors such as Rossen, Lumet and George Roy Hill and actor-directors Paul Newman, Warren Beatty and Robert Redford.

Besides "Bonnie and Clyde," which was produced by Beatty and starred Beatty and Faye Dunaway, Allen's films for Penn included "Alice's Restaurant," "Little Big Man," "Night Moves" and "The Missouri Breaks."

She edited Lumet's "Serpico," "Dog Day Afternoon" and "The Wiz"; Hill's "Slaughterhouse-Five" and "Slap Shot"; Newman's "Rachel, Rachel" and "Harry & Son"; Beatty's "Reds" (with Craig McKay, who shared the Oscar nomination) and Redford's "The Milagro Beanfield War."

But it was the violent tale based on the true story of Bonnie Parker and Clyde Barrow -- lovers and robbers on the run during the Great Depression -- that secured her place as a pioneer in film.

Hardly a chase scene or violent sequence filmed since "Bonnie and Clyde" has not been a reference to Allen's distinct style, which she developed under Penn's direction.

"What we essentially were doing," Penn said Saturday, "was developing a rhythm for the film so that it has the complexity of music."

The famed final ambush scene in which Bonnie and Clyde are gunned down on a gravel road in rural Louisiana contains more than 50 cuts, though it lasts less than a minute. At Penn's urging, Allen and her assistant, Jerry Greenberg, employed slow motion at some points and faster speed at others, creating a tense, violent and balletic conclusion.

Although the film initially left some movie critics in near-apoplectic disapproval of its mix of comedy and graphic violence, Pauline Kael, writing in the New Yorker magazine, called it "excitingly American."

Kael had special praise for the movie's editing, especially the "rag-doll dance of death" at the end of the picture, which she called "brilliant."

"It is a horror that seems to go on for eternity, and yet it doesn't last a second beyond what it should," Kael wrote.

In his review in 1967, Chicago Sun-Times film critic Roger Ebert called it "a milestone in the history of American movies, a work of truth and brilliance."

Kael's review and other critical praise prompted many to reevaluate the film, which in 1998 was listed at No. 27 on the American Film Institute's list of the "100 Greatest American Movies of All Time."

Dorothea Corothers Allen was born in Cincinnati on Dec. 3, 1923. She attended Scripps College in Claremont but left to take a job as a messenger at Columbia Pictures, hoping she could someday fulfill her dream of being a director.

Within a year, she was an assistant in sound effects, working on three-reelers. After long hours at her job, she would sit beside Carl Lerner, then an editor in television who later edited "Klute" and other films. With Lerner's guidance, she learned the craft of editing: the assemblage of various scenes to create a coherent film.

In the early days of Hollywood, the cutters, as they were called, were often women, perhaps because, as Allen once commented to author Ally Acker, "women have always been good at little details, like sewing."

But later those jobs mostly went to men, especially after World War II when military veterans returned to the film industry.

Unable to get a stronger foothold in the movies, Allen went with her husband to Europe and then New York City, where she took various jobs, including editing commercials, while raising her two children.

Working on commercials helped shape her style of editing, she often said.

In the late 1950s, Lerner recommended her for her first major editing task -- for director Robert Wise's "Odds Against Tomorrow," the taut film noir starring Harry Belafonte.

Allen credited Wise, who had been a film editor ("Citizen Kane", for giving her the confidence to find her footing in the profession. She began experimenting with using sound to move the action forward, the precursor to her method of initiating sound from the next scene while the previous scene was still running.

"The overall effect increased the pace of the film -- something always happened, visually or aurally, in a staccato-like tempo," Faller wrote in "Women Filmmakers and Their Films."

"Odds" led to Rossen's "The Hustler," which gave Allen her first real opportunity to demonstrate what she had learned, including the use of cuts instead of dissolves between scenes.

"I think it surprised Rossen, but he left it," she told the Film Quarterly in 1992 of her way of editing. "He used to say, 'It works. It plays. Leave it. Don't improve it into a disaster.' "

Ebert wrote of Allen's work on "The Hustler" that she found the rhythm in the pool games -- "the players circling, the cue sticks, the balls, the watching faces -- that implies the trance-like rhythm of the players. Her editing 'tells' the games so completely that if we don't understand pool, we forget that we don't."

When "Bonnie and Clyde" came along several years later, Allen employed her well-honed techniques and instincts about performance and story to help Penn deliver a film unlike any made in America before.

In 1994, Allen received the highest honor from her peers, a career achievement award given by American Cinema Editors. In November 2007 she received the Motion Picture Editors Guild's Fellowship and Service Award.

For seven years during the 1990s, Allen was an executive at Warner Bros., overseeing pre- and post-production on many films. She returned to editing with "Wonder Boys" and was co-editor of Omar Naim's "The Final Cut" (2004) and editor of "Fireflies in the Garden" (2008).

In addition to her son, Tom, a sound recording mixer, she is survived by her husband of 63 years, Stephen E. Fleischman, a retired TV news executive, documentary producer and writer; daughter Ramey Ward; five grandchildren; and two great-grandchildren.

Claudia Luther is a former Times staff writer
Ivana Knežević Ivana Knežević 23:34 19.04.2010

*

Puno puta sam procitala o sjajnim ljudima, narocito zenama, kod tebe, Srdjane.
Hvala i za ovaj put.
Srđan Mitrović Srđan Mitrović 07:48 20.04.2010

Re: *

Puno puta sam procitala o sjajnim ljudima, narocito zenama, kod tebe, Srdjane.

hvala. žao mi je što nisam imao vremena da napišem pravi tekst, jer je Dede to zaslužila.
stefan.hauzer stefan.hauzer 04:59 20.04.2010

Impresivna biografija

Reds,,trebalo je trpeti narcisoidnog Bitija.

i da,hvala joj, sto je pokazala kako se prave filmovi!

Arhiva