Dede Allen

照片 :
中文名 : 迪迪·艾伦
英文名 : Dede Allen
出生年 : 1925年
出生日 : 12月3日
出生地 : 美国
逝世: 逝世
逝世年: 2010年
逝世日: 4月18日
国家/地区 : 美国
职业1 : 剪辑师
首字母 : A
条目星级 : ★★

迪迪·艾伦(Dede Allen,本名:Dorothea Carothers Allen),1925年12月3日生于美国,2010年4月18日逝世,美国电影剪辑师

生平

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.

丈夫史蒂芬·弗兰西曼(Stephen Fleischman)是一位电视制片人,制作纪录片,她的儿子[[汤姆·弗兰西曼]]曾是[[马丁·斯科塞斯]][[乔纳森·德米]][[斯派克·李]]多部影片的录音混音师。

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.

Companion

HUSBAND: Stephen Fleischman. TV news executive, documentary producer and writer. Married c. 1950; now retired.

Milestone

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

Education

Actors and Directors Laboratory – Los Angeles, California Scripps College – Claremont, California

Notes

Allen was a consultant to the producer for the Italian-made “Storia di una donna/Story of a Woman” (1980).

电影年表

  1. Final Cut (2004) as Editor
  2. John Q (2002) as Editor
  3. Wonder Boys (2000) as Editing
  4. Addams Family, The (1991) as Editor
  5. Henry & June (1990) as Editor
  6. Let It Ride (1989) as Editor
  7. The Milagro Beanfield War (1988) as Editor
  8. Off Beat (1986) as Editor
  9. Breakfast Club, The (1985) as Editor (credited as Dede Allen)
  10. Harry & Son (1984) as Editor
  11. Mike’s Murder (1984) as Editor
  12. Reds (1981) as Editor
  13. The Wiz (1978) as Editor
  14. Slap Shot (1977) as Editor
  15. he Missouri Breaks (1976) as Editor
  16. Dog Day Afternoon (1975) as Editor
  17. Night Moves (1975) as Editor
  18. Visions of Eight (1973) as Editor
  19. Serpico (1973) as Editor
  20. Slaughterhouse-Five (1972) as Editor
  21. Little Big Man (1970) as Film Editor
  22. Alice’s Restaurant (1969) as Film Editor
  23. Rachel, Rachel (1968) as Film Editor
  24. Bonnie and Clyde (1967) as Film Editor
  25. America America (1963) as Film Editor
  26. The Hustler (1961) as Film Editor
  27. Odds Against Tomorrow (1959) as Film Editor
  28. Terror from the Year 5,000 (1958) as Film Editor
  29. The Story of Life (1948) as Film Editor
  30. West Texas Children’s Story (1000) as Co-Editor (credited as Dede Allen)

外部链接

Dede Allen

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