Dede Allen started her career as a messenger at [[Columbia_Pictures]]. She graduated to being a sound cutter and assistant editor. Her first job as a film editor was for director [[Robert_Wise]], and since then she has achieved a reputation as one of the most stylish and creative editors in the American film industry.
Member of the Board of Governors of the [[Academy_of_Motion_Picture_Arts_and_Sciences]] (Editors Branch) (2000-2006)
In 1992, Dede Allen became the head of post production at [[Warner_Bros.]] She only returned to editing eight years later with “Wonder Boys” (2000).
One of the most distinguished film editors of the American cinema, and often considered one of the most imaginative and creative, Dede Allen has been associated with directors as varied as Arthur Penn (six films) and Sidney Lumet (four movies) and actors-turned-directors Paul Newman and Warren Beatty. She garnered two Oscar nominations in her long career: for Lumet’s urban comedy “Dog Day Afternoon” (1975) and Beatty’s biopic of journalist John Reed, “Reds” (1981).
Allen began her career as a messenger at Columbia_Pictures in the early 1940s. Editing, like writing, was one place in pre-World War II films with a history of high-placed women (e.g., directors June Mathis and Dorothy Arzner began as editors; while Verna Field at Universal and Margaret Booth at MGM were editing pioneers). Allen was able to break in as a sound lab worker and assistant editor. With her husband, news executive Stephen Fleischman, she moved to France in the late 40s, where they remained for two years. Upon returning to the USA, Allen slowly began to win editing assignments, beginning with the short “Endowing Your Future” (1957) and including numerous industrials and the low-budget “Terror From the Year 5000” (1958). In 1959, director Robert_Wise–himself a former editor–tapped Allen to cut his “Odds Against Tomorrow” which helped establish her in the business. Allen won particular praise for Robert Rossen’s “The Hustler” (1961), in part for its creative and effective use of time dissolves. In 1967, Allen had what might be considered her “big break” working with Arthur Penn on “Bonnie and Clyde”, a film in which the editing helped to create not just the necessary irony of the film, but also its numerous rhythms. While some moments are quite pastoral, the sequence wherein the Barrow Gang tries to fight its way out of an ambush was told entirely in rapid images and is considered a marvel of editing. Paul Newman then selected Allen as editor for his directorial debut, “Rachel, Rachel” (1968), which mixed the harsh world of Joanne Woodward’s life with her daydreams. In 1969, Allen reteamed with Penn for “Alice’s Restaurant” and went on to provide excellent work on his “Little Big Man” (1970), “Night Moves” (1975) and “The Missouri Breaks” (1976).
Allen first worked with Sidney Lumet on “Serpico” (1973), but is better remembered for her work on “Dog Day Afternoon”. Again, Allen proved amazingly creative, changing the tempos of scenes and developing aural and visual relationships. Allen and Lumet were less successful creatively with the musical misfire “The Wiz” (1978). For George Roy Hill, she cut “Slaughterhouse Five” (1972) and “Slap Shot” (1977). The hockey sequences in the latter were particular marvels of cutting. Allen not only co-edited “Reds” but also served as one of its executive producers, working alongside Beatty on many creative choices for the film. She worked again with Newman on “Harry and Tonto” (1984) and for Robert Redford on “The Milagro Beanfield War” (1988). Allen shifted to independent films for “Henry and June” (1990) and later to special effects and highly-charged action for Barry Sonnenfeld’s “The Addams Family” (1991). After a nine-year hiatus during which she worked at Warner_Bros. as an executive, Allen returned to the cutting room to edit “Wonder Boys” (2000), for which she received an Oscar nomination.
Her two children are also active in filmmaking; son Tom Fleischman is a sound re-recording mixer and daughter Ramey Ellis Ward is a production associate.
Family：SON: Thomas Fleischman. Sound rerecording mixer. Born c. 1952.
DAUGHTER: Ramey Fleischman. Production coordinator, producer. Born c. 1954.
HUSBAND: Stephen Fleischman. TV news executive, documentary producer and writer. Married c. 1950; now retired.
Grew up in France and Switzerland
1943: Moved to Hollywood, where she worked as a messenger for Columbia_Pictures while attending college
1944: Started editing in the sound effects department at Columbia
1948 – 1950: Traveled to France with her husband; remained for two years
1950: Moved back to the USA
1957: Edited short film “Endowing Your Future”
1958: First feature as editor, “Terror from the Year 5000”
1959: Established reputation with “Odds Against Tomorrow”
1961: Cut Robert Rossen’s “The Hustler”
1967: First screen collaboration with Arthur Penn, “Bonnie and Clyde”
1968: Worked for director Paul Newman for the first time on “Rachel, Rachel”
1971: Initial screen work for George Roy Hill on “Slaughterhouse Five”
1973: Began collaboration with Sidney Lumet on “Serpico”
1975: Garnered first Oscar nomination for Sidney Lumet’s “Dog Day Afternoon”
1981: Served as co-executive producer of Warren Beatty’s “Reds”; also co-edited the film; earned second Oscar nomination
1991: Last feature credit for nearly a decade Barry Sonnenfeld’s “The Addams Family”
Taught at the Los Angeles Film School
Served in an executive capacity at Warner_Bros.
2000: Returned to film work as editor of “Wonder Boys”; garnered Best Editing Oscar nomination
Actors and Directors Laboratory – Los Angeles, California Scripps College – Claremont, California
Allen was a consultant to the producer for the Italian-made “Storia di una donna/Story of a Woman” (1980).
- Final Cut (2004) as Editor
- John Q (2002) as Editor
- Wonder Boys (2000) as Editing
- Addams Family, The (1991) as Editor
- Henry & June (1990) as Editor
- Let It Ride (1989) as Editor
- The Milagro Beanfield War (1988) as Editor
- Off Beat (1986) as Editor
- Breakfast Club, The (1985) as Editor (credited as Dede Allen)
- Harry & Son (1984) as Editor
- Mike’s Murder (1984) as Editor
- Reds (1981) as Editor
- The Wiz (1978) as Editor
- Slap Shot (1977) as Editor
- he Missouri Breaks (1976) as Editor
- Dog Day Afternoon (1975) as Editor
- Night Moves (1975) as Editor
- Visions of Eight (1973) as Editor
- Serpico (1973) as Editor
- Slaughterhouse-Five (1972) as Editor
- Little Big Man (1970) as Film Editor
- Alice’s Restaurant (1969) as Film Editor
- Rachel, Rachel (1968) as Film Editor
- Bonnie and Clyde (1967) as Film Editor
- America America (1963) as Film Editor
- The Hustler (1961) as Film Editor
- Odds Against Tomorrow (1959) as Film Editor
- Terror from the Year 5,000 (1958) as Film Editor
- The Story of Life (1948) as Film Editor
- West Texas Children’s Story (1000) as Co-Editor (credited as Dede Allen)