ONLINE EXCLUSIVE
FOR IMMEDIATE RELEASE
THE MOTION PICTURE EDITORS GUILD SELECTS DEDE ALLEN AS THE RECIPIENT
OF THE
2007 FELLOWSHIP AND SERVICE AWARD
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Hollywood, CA – November 13, 2007 - - The Motion Picture Editors Guild (MPEG) has selected veteran film editor Dede Allen, A.C.E., to be this year’s recipient of the Guild’s Fellowship and Service Award. The MPEG created this award to acknowledge a member who exhibits not only exemplary skill in the craft of editing, but also a set of values which include professionalism, collaboration, mentorship, generosity of spirit and commitment to the labor movement. The distinguished honor will be presented to Allen at the MPEG annual Board of Directors Installation Dinner on January 5, 2008 at Loews in Santa Monica.
“Throughout her career, Dede Allen has truly exemplified each of the values represented by the Fellowship and Service Award. She has continuously shared her knowledge and experience with her crews nurturing a plethora of apprentice and assistant editors. I’m thrilled to announce that she is this year’s recipient,” said MPEG President, Lisa Churgin, A.C.E. “She paved the way for women in her field and has reached the top as a respected industry leader.”
Allen began her film career in 1943 as a messenger at Columbia Pictures. She quickly found her passion in the cutting room working with director Robert Wise on Odds Against Tomorrow. Her professionalism, perseverance and artistry garnered a celebrated list of titles to her credit with Reds, Bonnie and Clyde, Little Big Man, The Hustler, Alice’s Restaurant, Slaughterhouse Five, The Milagro Beanfield War, Dog Day Afternoon, The Wonder Boys, and Serpico among them. Allen has no time for retirement, currently editing Fireflies in the Garden, slated for 2008 release. (For additional info, see her bio.)
ABOUT THE MOTION PICTURE EDITORS GUILD
The Motion Picture Editors Guild (MPEG) is a national labor organization currently
representing over 6,000 freelance and staff post-production professionals.
MPEG is the world's premiere craft Guild that sets the standards for excellence
in the post-production industry. The requirements to become a member of the
Guild and placed on its Industry Experience Roster ensures the highest level
of professionalism.
As Local 700 of the International Alliance of Theatrical Stage Employees (IATSE), an international union over 100 years old, MPEG is allied with some 500 affiliated locals in the United States and Canada with a combined membership of more than 104,000. This strength increases its collective power at the bargaining table and results in better contracts with superior benefits.
MPEG negotiates new collective bargaining agreements (union contracts), enforces existing agreements with employers involved in post-production and provides assistance for securing better conditions––including but not limited to financial (better pay), medical (better health insurance), safety (turnaround time) and artistic (assignment of credit) concerns.
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DEDE ALLEN BIOGRAPHY
Dede Allen began her film career as a messenger for Columbia Pictures in 1943. During those war years, the seniority system at the studios relaxed a bit and women were able to gain a foothold in areas that traditionally were dominated by men. She was able to advance in a short period of time to apprentice, assistant editor, and sound editor. In 1950, she moved to New York, with her husband, Stephen Fleischman, who worked in network news documentary. There she became a feature film editor.
Robert Wise gave Dede her first big break on a major motion picture Odds Against Tomorrow then came The Hustler with Paul Newman and Jackie Gleason, directed by Robert Rossen. In 1966, she edited Bonnie And Clyde directed by Arthur Penn and produced by Warren Beatty.
A stylistic innovator, Allen remembers that when she began pre-lapping sound in the 50’s – the sound track coming in ahead of the picture on a cut – “I had to say to my sound editors, ‘don’t change that. It’s not out of sync. That’s the way I want it.’” The startling transitions of her energetic cutting on Bonnie And Clyde, with fade-outs and cut-ins, have been much imitated since.
Allen has also edited films for other prominent actors-turned-directors, Rachel Rachel, and Harry And Son for Paul Newman and The Milagro Beanfield War for Robert Redford.
In 1992, Allen returned to Los Angeles to become a Creative Executive in Theatrical Production for Warner Bros., where she consulted on films from dailies through post-production. “I didn’t edit, but I worked cooperatively with editors and directors.”
In 1996, Allen was elected by the Film Editors Branch to membership on the Board of Governors of the Academy of Motion Picture Arts and Science.
Allen left her executive position at Warner Bros., in 1999, to return to her first love – film editing – and edited Wonder Boys for director Curtis Hansen and producer Scott Rudin. The film garnered her an Academy nomination for Best Editing.
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She was Vice President on the Board of Directors for the Motion Pictures Editors Guild from 2002 to 2004.
Dede Allen played a large part in shaping many of the finest films of our
time, and in winning recognition for film editing as an art as well as a craft.
She was the first to win a credit position for the film editor in the opening
credits of a film, along with the cinematographer, the writer and director.
In 2006, Dede was editorial consultant on All The King’s
Men directed by Steven Zaillian, and on Ask The Dust
with director Robert Towne.
Since being told she would never make it as an editor because she wasn’t strong enough to carry the film, Allen’s accomplishments include three Academy Award nominations for Best Film Editing, Career Achievement Awards from the American Cinema Editors, the Los Angeles Film Critics Association and the Women in Film Crystal Awards, among others. Her celebrated film credits include, Little Big Man, Slaughterhouse Five, Serpico, Dog Day Afternoon, The Wonder Boys, John Q, etc. See below for more Filmography.
Dede and her co-editor Robert Brakey are currently editing Fireflies In The Garden, slated for a 2008 release.
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MS. ALLEN, FEATURE FILM EDITOR
LIST OF CREDITS
YEAR - FEATURE TITLE - DIRECTORS
2008 - Fireflies in the Garden - With Co-editor Robert Brakey
(Currently in post) Dennis Lee
2007 - Have Dreams, Will Travel - Co-editor Robert Brakey
Brad Isaacs
2004 - The Final Cut - Co-editor Robert Brakey Omar Naim
2002 - John Q - Nick Cassavetes
2000 - Wonder Boys - Curtis Hansen
1991 - The Addams Family - Barry Sonnenfeld
1990 - Henry & June - Philip Kaufman
1989 - Let It Ride - Joe Pitka
1988 - The Milagro Beanfield War - Robert Redford
1986 - Off Beat - Michael Dinner
1985 - The Breakfast Club - John Hughes
1984 - Mike’s Murder - James Bridges
1984 - Henry & Son - Paul Newman
1981 - Reds - Executive Producer Warren Beatty
1978 - The Wiz - Sidney Lumet
1977 - Slap Shot - George Roy Hill
1976 - The Missouri Breaks - Arthur Penn
1975 - Night Moves - Arthur Penn
1975 - Dog Day Afternoon - Sidney Lumet
1973 - Visions of Eight - Arthur Penn
1973 - Serpico - Sidney Lumet
1972 - Slaughterhouse - Five George Roy Hill
1970 - Little Big Man - Arthur Penn
1969 - Alice’s Restaurant - Arthur Penn
1968 - Rachel, Rachel - Paul Newman
1967 - Bonnie and Clyde - Warren Beatty
1963 - America, America - Elia Kazan
1961 - The Hustler - Robert Rossen
1959 - Odds Against Tomorrow - Robert Wise
1958 - Terror from the Year 5000 - Robert Gurney
NOMINATIONS AND AWARDS
ACE Eddie Nominations
1961 The Hustler
1975 Dog Day Afternoon
1981 Reds
American Academy Award Nominations
1975 Dog Day Afternoon
1981 Reds
2001 Wonder Boys
American Film Institute
1990 Doctor of Fine Arts - Honorary Degree
ACE Lifetime Achievement Award - 1994
British Academy Award
1975 Dog Day Afternoon
Crystal Award - Women In Film - 1982
Hollywood Film Festival - Career Achievement Award – 1999
Los Angeles Film Critics Award - 2000
New York Women in Film and Television - Muse Award - 2001