Alan Heim | |
|---|---|
 | |
| Born | May 31, 1936 |
| Other names | Allan Heim |
| Occupation | Film editor |
| Years active | 1963-present |
Alan Heim, ACE (born May 31, 1936) is an American film editor. He won an Academy Award for editing All That Jazz .
Alan Heim | |
|---|---|
| | |
| Born | May 31, 1936 |
| Other names | Allan Heim |
| Occupation | Film editor |
| Years active | 1963-present |
Alan Heim, ACE (born May 31, 1936) is an American film editor. He won an Academy Award for editing All That Jazz .
Heim was born in the Bronx, New York.
He has more than thirty feature-film credits to his name, and has been elected to membership in the American Cinema Editors (ACE). Heim has also served as President of the ACE organization and as President of the Motion Picture Editors Guild (MPEG), the IATSE union that represents film editors, sound mixers and post-production craftspeople. [1] [2]
Heim had an extended collaboration with director Bob Fosse. For his work on All That Jazz (1979), Heim received the Academy Award for Best Film Editing, the BAFTA Award for Best Editing, and the American Cinema Editors Eddie Award. All That Jazz is the fourth best-edited film of all time on a 2012 list compiled by the Motion Picture Editors Guild, and Edward Ländler wrote a summary of the editing for that listing. [3]
Editor
| Year | Film | Director | Notes |
|---|---|---|---|
| 1968 | The Sea Gull | Sidney Lumet | Fourth collaboration with Sidney Lumet |
| 1970 | Last of the Mobile Hot Shots | Fifth collaboration with Sidney Lumet | |
| The Twelve Chairs | Mel Brooks | Second collaboration with Mel Brooks | |
| 1971 | Doc | Frank Perry | |
| 1973 | Godspell | David Greene | |
| 1974 | Lenny | Bob Fosse | First collaboration with Bob Fosse |
| 1976 | Network | Sidney Lumet | Sixth collaboration with Sidney Lumet |
| 1979 | Hair | Miloš Forman | First collaboration with Miloš Forman |
| All That Jazz | Bob Fosse | Second collaboration with Bob Fosse | |
| 1981 | The Fan | Edward Bianchi | |
| So Fine | Andrew Bergman | ||
| 1983 | Star 80 | Bob Fosse | Third collaboration with Bob Fosse |
| 1985 | Goodbye, New York | Amos Kollek | |
| Beer | Patrick Kelly | ||
| 1988 | She's Having a Baby | John Hughes | |
| Funny Farm | George Roy Hill | ||
| 1989 | Valmont | Miloš Forman | Second collaboration with Miloš Forman |
| 1990 | Quick Change | ||
| 1991 | Billy Bathgate | Robert Benton | |
| 1993 | Dennis the Menace | Nick Castle | |
| 1995 | Copycat | Jon Amiel | |
| 1997 | Leave It to Beaver | Andy Cadiff | |
| 1998 | American History X | Tony Kaye | |
| 2000 | Bless the Child | Chuck Russell | |
| 2002 | The Adventures of Pluto Nash | Ron Underwood | |
| 2003 | Carolina | Marleen Gorris | |
| 2004 | The Notebook | Nick Cassavetes | First collaboration with Nick Cassavetes |
| 2006 | Alpha Dog | Second collaboration with Nick Cassavetes | |
| 2007 | The Last Mimzy | Robert Shaye | |
| 2009 | My Sister's Keeper | Nick Cassavetes | Third collaboration with Nick Cassavetes |
| 2010 | Janie Jones | David M. Rosenthal | |
| 2012 | Bless Me, Ultima | Carl Franklin | |
| 2013 | Gods Behaving Badly | Marc Turtletaub | |
| 2014 | The Other Woman | Nick Cassavetes | Fourth collaboration with Nick Cassavetes |
| 2015 | I Saw the Light | Marc Abraham |
Sound department
| Year | Film | Director | Role | Notes |
|---|---|---|---|---|
| 1964 | The Pawnbroker | Sidney Lumet | Sound editor | First collaboration with Sidney Lumet |
| 1966 | The Group | Second collaboration with Sidney Lumet | ||
| The Fat Spy | Joseph Cates | Sound effects editor | ||
| 1967 | The Producers | Mel Brooks | Sound editor | First collaboration with Mel Brooks |
| 1968 | Bye Bye Braverman | Sidney Lumet | Third collaboration with Sidney Lumet | |
| Rachel, Rachel | Paul Newman |
Music department
| Year | Film | Director | Role |
|---|---|---|---|
| 1966 | The Fat Spy | Joseph Cates | Music editor |
Editorial department
| Year | Film | Director | Role |
|---|---|---|---|
| 1989 | Bloodhounds of Broadway | Howard Brookner | Editorial consultant |
| 1996 | The Mirror Has Two Faces | Barbra Streisand | Additional editor |
| 2004 | The Alamo | John Lee Hancock | Additional film editor |
| 2008 | Forever Plaid: The Movie | Stuart Ross | Supervising editor |
Actor
| Year | Film | Director | Role | Notes |
|---|---|---|---|---|
| 1979 | All That Jazz | Bob Fosse | Eddie | |
| 2013 | Return to Babylon | Alex Monty Canawati | Landlord | Scenes deleted |
Thanks
| Year | Film | Director | Role |
|---|---|---|---|
| 2009 | The Red Machine |
| Special thanks |
Editor
| Year | Film | Director |
|---|---|---|
| 1975 | The Silence | Joseph Hardy |
| 1986 | Nobody's Child | Lee Grant |
| 1999 | Introducing Dorothy Dandridge | Martha Coolidge |
| 2008 | Skip Tracer | Stephen Frears |
| 2009 | Grey Gardens | Michael Sucsy |
Founded in 1950, American Cinema Editors (ACE) is an honorary society of film editors who are voted in based on the qualities of professional achievements, their education of others, and their dedication to editing. Members use the post-nominal letters "ACE". The organization's "Eddie Awards" are routinely covered in trade magazines such as The Hollywood Reporter and Variety. The society is not an industry union, such as the I.A.T.S.E., to which an editor might also belong. The current president of ACE is Kevin Tent, who was elected in 2020.
Zach S. Staenberg, A.C.E. is an American film editor best known for his work on action films and the Matrix Trilogy. Staenberg won an Academy Award and two ACE Eddie Award for the editing of The Matrix (1999) and for HBO's Gotti (1996) for which he was also nominated for an Emmy. The Matrix films were written and directed by the Wachowskis, with whom Staenberg has had an extended collaboration dating from 1996. He is a frequent collaborator of director Andrew Niccol.
Joe Hutshing is an American film editor who grew up in San Diego, California and is best known for working multiple times with film director, Oliver Stone and well as with film director Cameron Crowe. Hutshing graduated from the University of Oregon in 1980.
Craig McKay is an American feature film editor, story consultant, director, and executive producer. Recognized with two Academy Award nominations for editing Reds and The Silence of the Lambs, and an Emmy Award for editing the NBC miniseries Holocaust, he has edited more than forty films including Philadelphia, The Manchurian Candidate, Cop Land and Maid in Manhattan.
Christopher Russell Rouse is an American film and television editor and screenwriter who has about a dozen feature-film credits and numerous television credits. Rouse won the Academy Award for Best Film Editing, the BAFTA Award for Best Editing, and the ACE Eddie Award for the film The Bourne Ultimatum (2007).
Gerald Bernard "Jerry" Greenberg was an American film editor with more than 40 feature film credits. Greenberg received both the Academy Award for Best Film Editing and the BAFTA Award for Best Editing for the film The French Connection (1971). In the 1980s, he edited five films with director Brian De Palma.
Sarah Flack is an American film editor. She frequently worked with American independent film directors Steven Soderbergh and Sofia Coppola. Flack's work on Lost in Translation won her the BAFTA Award for Best Editing. The film went on to win numerous other awards, including a Golden Globe Award for Best Motion Picture – Musical or Comedy and the Independent Spirit Award for Best Film. She won a Primetime Emmy Award and an American Cinema Editors Eddie award with Robert Pulcini for co-editing the HBO film "Cinema Verite".
Richard Halsey is an American film editor with more than 60 credits from 1970 onwards. An alumnus of Hollywood High School, he won an Academy Award for Best Film Editing at the 49th Academy Awards for editing Rocky with Scott Conrad, also being nominated for one BAFTA and one Emmy Award. He often works with his wife Colleen Halsey and they are credited together. Both have been elected to membership in American Cinema Editors (A.C.E.); Halsey has been a member since 1988. He is now living in the Hollywood Hills.
Dana E. Glauberman, ACE, is an American film and television editor. She is known for her work on films such as Juno, Up in the Air, Draft Day and Ghostbusters: Afterlife, as well as TV series such as The Mandalorian and Ahsoka.
Lisa Fruchtman is an American film and television editor, and documentary director with about 25 film credits. Fruchtman won the Academy Award for Best Film Editing for The Right Stuff (1983). With her brother, Rob Fruchtman, she produced, directed, and edited the 2012 documentary Sweet Dreams.
Affonso Gonçalves is a Brazilian-American film editor. He is best known for editing many critically acclaimed films such as Winter's Bone (2010), Beasts of the Southern Wild (2012), Only Lovers Left Alive (2013), Carol (2015), Paterson (2016), and Wonderstruck (2017).
Molly Shock is an American film and television film editor, a two-time ACE Award nominee and a two-time Emmy Award nominee. She is a member of American Cinema Editors. and serves on the board of directors for the Motion Picture Editors Guild.
Michael Chandler is an American producer, director, writer and editor of feature and documentary films. He produced and directed, with Sheila Canavan, the feature documentary Compared to What? The Improbable Journey of Barney Frank, a Showtime Networks Broadcast Premier and official selection of the Tribeca Film Festival; the PBS Independent Lens feature documentary Knee Deep which one reviewer called, “one of the year's best 'believe it or not' documentaries, a rural Rashomon and a compelling cinematic experience;” and produced & directed Forgotten Fires, a PBS documentary which investigated the burning by Ku Klux Klansmen of Black churches. Bill Moyers said about it: "If we wanted a real dialog about race in America, we'd start with this film." Chandler also produced & directed investigative documentaries for the PBS series Frontline, including Blackout, a collaboration with The New York Times, The Future of War, and Secrets of the SAT.
The American Cinema Editors Award for Best Edited Miniseries or Motion Picture for Television is one of the annual awards given by the American Cinema Editors. It has evolved throughout the history of the American Cinema Editors Awards, narrowing it's eligibility field numerous times.
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