I don’t know what the next job will bring, let alone one that’s five years down the road. Jobwise, what do you hope to be doing five years from now? The most fun I have is working with interesting people, good writers, directors and producers who have new and creative ways of looking at material and working collaboratively to fix problems or make a story stronger or more dramatic with spontaneous ideas. It’s just great having creative minds around who enjoy their work and bring their enjoyment into the editing environment. What was the most fun you’ve had at work? Each of these challenges requires a different approach. So how did I learn to overcome those challenges? Through years of experience. I don't know that there ever was a "biggest challenge." There are often all kinds of challenges in my line of work, which keeps things interesting. A challenge could be a difficult personality in a collaborator, a poorly written script, poorly directed material, missing coverage, bad performances, or just not enough time to solve the problems at hand. What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it? I am also very proud of my work on the TV show Max Headroom, especially as the editor of the pilot episode. It was a groundbreaking show, with special effects never before attempted on such a large scale for a TV episode. The movie went on to achieve some notoriety, and when I moved to Los Angeles, I had credibility as an editor. I was brought in to recut the movie, which had several editorial issues that needed creative solutions. One of the most important films of my career was Alice, Sweet Alice, a horror thriller and the first theatrical feature with Brooke Shields as a child actress. Which of your credits or projects have made you the most proud and why? That’s when I got into Local 771 in New York. Little Murders was my first union job and I got an assistant editor credit. ![]() Howie was supervising editor at Professional Films in New York and, in 1970, he hired me as his apprentice on Little Murders, directed by Alan Arkin from Jules Feiffer’s play. I found the whole environment intriguing, and I loved watching the interaction between Howie and Alan as the film was being edited. They were both very open to my input and kept me involved with the process. I realized I could do that kind of work - and I enjoyed the working relationships and the post-production e nvironment. My first real break, after landing a job as a production assistant, was the late Howard Kuperman. The initial appeal for me was the idea that editing was like putting together a large jigsaw puzzle and, as a youngster, I loved putting together puzzles. How did you first become interested in this line of work? I am one of three editors on the show. We rotate every third episode, so I cut about eight episodes per season. I’ve been working on the show since 2011.
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