778:, which was too sick to appreciate in the same vein.) What clinched it was that unbelievably brilliant sequence that begins with a high-angle shot of Roy Scheider dropping fish entrails in the water as shark bait. He was resentful; he said to Shaw and Dreyfuss, "Why don't you guys come down here and shovel some of this shit?" And we started to laugh—he said "shit!" heh-heh—and then the head of the shark appeared in the water (no music, no foreshadowing), and I felt my mind detach from my body and my laugh turn into a shriek and merge into the collective shriek of everyone in that huge theater. I literally shook for the rest of the movie: Every cut by the late Verna Fields had me poised to leap out of my seat. (I really learned to appreciate editing from
33:
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wrote of her time at USC that: "Her greatest impact came when she began to teach film editing to a generation of students at the
University of Southern California. She then operated on the fringes of the film business, for a time making documentaries for the Office of Economic Opportunity. The end of
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Fields had come "up from the cutting room floor" and out of the customary, near-anonymity of film editors. Regarding this change in her career path, Fields told Peary in 1980 that "All these young filmmakers are possessive. They feel I belong to them, and they feel a certain resentment - that I went
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as (literally) a textbook illustration of an editing innovation that occurred in the late 1960s. The innovation, which Fields herself named the "wipe by cut", can be used when a character is filmed from a distance using a telephoto lens. The cut to a different framing of the character occurs during
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scared the world, brought in a fortune for
Universal, and made Verna Fields, who won an Academy Award, about as famous 'overnight' as an editor ever gets." He then quoted Fields as saying that, "Steven told me it was because I had cut the first picture that was a monumental success in which you can
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exists not so much in its individual stories as in its orchestration of many stories, its sense of time and place. Although it is full of the material of fashionable nostalgia, it never exploits nostalgia. In its feeling for movement and music and the vitality of the night—and even in its vision in
207:, educator, and entertainment industry executive. In the first phase of her career, from 1954 through to about 1970, Fields mostly worked on smaller projects that gained little recognition. She was the sound editor for several television shows in the 1950s. She worked on independent films including
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has described the scene in which the character Bobby starts sniping at freeway drivers from the top of a large oil storage tank: "The sound is mono, and brilliantly mixed – the entire sequence of Bobby shooting from the tanks was shot without sound. Verna Fields, then a sound editor, added all the
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is that the shark has a personality, the shark has an intelligence, indeed sometimes I think the shark has a sense of humor, morbid as it might be. And that was all achieved in the first two acts of the film before you see the shark. So the cutting was very essential for that."
810:, in addition to her editing, Fields had been "omnipresent...at Spielberg's beck and call by means of a walkie-talkie. Often she would shuttle back and forth on her bike between the producers in town and Spielberg at the dock for last-minute decisions". The producers of
838:, she accepted a position as the Feature-Production Vice-President with Universal. She was thus among the first women to hold high executive positions with the major studios. In a 1982 interview, Fields was quoted as saying, "I got a lot of credit for
623:(as sound editor), pieced together the original, 165-minute version of the film. Each of more than 40 scenes in the film had a continuously playing background song that had been popular around 1962, when the film's story was set.
537:. In one characteristic excerpt she said that, "There's a feeling of movement in telling a story and there is a flow. A cut that is off-rhythm will be disturbing and you will feel it, unless you want it to be like that. On
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339:(1944). In 1946, she married the film editor Sam Fields and stopped working. The Fieldses had two sons; one of them, Richard Fields, became a film editor. In 1954, Sam Fields died of a heart attack at the age of 38.
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on the "talk show circuit" in the eight months before its saturation release to 464 theaters on June 20, 1975. Fields had plainly earned the confidence of the producers and of the studio executives at
Universal.
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is still one of my favorite movies. I didn't know I could be manipulated like that—so wittily, so teasingly, in a way that made me laugh at my own fear. (The only
Hitchcock film I'd seen in a theater was
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for
Student Sound Editing. The Women in Film Foundation, which honored Fields with its Crystal Award in 1981, presently administers the Verna Fields Memorial Fellowship for women film students at
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sound effects. The result is seamlessly realistic, from the scrape of the guns on the metal of the tanks, to the crack of the rifles, to the little gasps Bobby makes just before firing."
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the interruption by a figure who passes between the camera and the character. The cut thus masks itself, and avoids drawing the viewer's attention away from the narrative of the scene.
290:. She was thus among the first women to enter upper-level management in the entertainment industry. Her career as an executive at Universal continued until her death in 1982 at age 64.
558:(1972); Bogdanovich had edited his previous films himself. The film was very successful, and is now considered as the second of Bogdanovich's 'golden period' that commenced with
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early in their careers, and became known as their "mother cutter"; the term "cutter" is an informal variation of "film editor". The critical and commercial success of the films
858:. They're executives who actually made records. In the movie business, as an executive who's worked with film, you have only Verna. She saves Universal a fortune...every day."
806:
in 1975, Fields was hired by
Universal as an executive consultant. Some insight into Universal's reasons for hiring her can be gleaned from the fact that during the filming of
1976:
365:. She installed a film editing lab in her home so that she could work at night while her children were young; she told them that she was the "Queen of Saturday morning".
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of Brody, who is fearful of a second shark attack, anxiously surveying the waters crowded with swimmers. Bordwell attributes the name "wipe by cut" to Verna Fields.
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for outstanding women who, through their endurance and the excellence of their work, have helped to expand the role of women within the entertainment industry.
1408:. According to Bogdanovich's commentary on the film's DVD release, this credit was nominal; Bogdanovich had edited the film himself, as he had done for
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asked him to add Verna Fields to the editing team. Over the first ten weeks of post-production, George and Marcia Lucas, along with Fields and
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Award for best editing for the film. Within a year of the film's release, she had been appointed as Vice-President for
Feature Production at
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that
Federal Agency pushed her back into mainstream Hollywood then being overrun by her former USC students." Fields' students had included
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to the other side. In calmer moments, of course, they know it isn't true, that I can do more for them now." Of Fields' work at
Universal,
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has been intensely studied for over thirty years. In film editor Susan Korda's 2005 lecture, "We'll Fix It in the Edit!?", at the
440:
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Lucas, George (1998). George Lucas refers to the sound track as acting as a Greek chorus in his interview in
Laurent Bouzereau,
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638:. It took another six months of editing to create a shorter, 110-minute version of the film, but upon its release in 1973
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contact). Over the next five years, Fields edited several other independent films, but her best known work was on the
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Fields left no written lectures from her USC years, but a transcript exists from a 1975 seminar that she gave at the
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established Fields as an editor on studio films. She subsequently edited Bogdanovich's final golden period film,
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was the last film that she edited. There had apparently been some discussion that Fields might edit Spielberg's
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and the other connections she made on this film were important to her subsequent career. In 1962 Fields won the
302:. She was the daughter of Selma (née Schwartz) and Samuel Hellman, who was then working as a journalist for the
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678:; while the film won no Academy Awards, Marcia Lucas, Murch, and Fields all won Academy Awards for later work.
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Throughout her career, Fields had worked independently, but in 1976, and following the unexpected success of
601:(1968), which was a documentary film written and directed by Gary Goldsmith for the USIA. She had also hired
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1988:. Webpage describing the Foundation's scholarship programs, including the Verna Fields Memorial Fellowship.
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Filmmakers on Filmmaking: The American Film Institute Seminars on Motion Pictures and Television, Vol. One
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and its editing are also a good indication of the film's lasting influence 30 years after its release:
541:, each time I wanted to cut I didn't, so that it would have an anticipatory feeling — and it worked."
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After her husband died, Fields began a career as a television sound editor working on such shows as
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419:(1961), Fields was the sound editor on several lesser-known films, including the experimental film
213:(1959), on government-supported documentaries of the 1960s, and on some minor studio films such as
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in particular was enormously and unexpectedly profitable, and ushered in the era of the "summer
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699:(1974). She became widely celebrated for her work as the film editor on Spielberg's next film,
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Fields died of cancer in Los Angeles in 1982. In her honor, Universal named a building at its
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took responsibility, and edited all but one of Spielberg's films for the next 30 years. After
244:' era (1968–1982). She had established close ties with the directors Peter Bogdanovich,
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was extremely successful both with critics and at the box office. Shortly after its release,
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270:(1975) brought Fields a level of recognition that was unique among film editors at the time.
233:(1961), led to her only industry recognition in this phase of her career, which was the 1962
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741:, she broadly explained the contribution of editing to the film: "What is fascinating in
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278:" film. Fields' contributions to this success were widely acknowledged. She received an
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486:(1967). She also made documentaries funded by the United States government through the
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By 1956, she was working on films as well. Her first credit as a sound editor was for
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Women Who Run the Show: How a Brilliant and Creative New Generation Stormed Hollywood
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Fields held her position as a vice president at Universal until her death in 1982.
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On a 2012 listing of the 75 best edited films of all time that was compiled by the
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439:(1968) was one of her last sound-editing projects, and represents her mature work.
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1954:
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Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam, 1970-1979
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Fields came into prominence as a film editor and industry executive during the '
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1152:
Directed by Steven Spielberg: Poetics of the Contemporary Hollywood Blockbuster
1103:
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1590:(2002). "Intensified Continuity: Visual Style in Contemporary American Film".
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223:(1968). For several years in the late 1960s, she was a film instructor at the
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really see the editing. And people discovered that it was a woman who edited
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Vol. 27, No. 3 (May–June 2006). Online version retrieved January 6, 2008.
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2009:
1174:, webpage of the St. Louis Writers' Guild, archived by WebCite from the
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Blockbuster: How Hollywood Learned to Stop Worrying and Love the Summer
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115:
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1425:. Dimension Films, United States Information Agency. August 23, 2016.
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1317:, webpage of "Audio/Video Revolution", archived by WebCite from the
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lot the Verna Fields Building; it lies immediately across from the
355:
435:
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was quoted in 1982 as saying: "In the record business, you have
609:; the couple subsequently married. In 1972, Lucas was directing
1441:
Skywalking: The Life and Films of George Lucas: Updated Edition
896:
1422:
615:. While Lucas had intended that his wife would edit the film,
325:
with a B.A. in journalism. She then held several positions at
1872:, March 17, 1985. Online version retrieved November 15, 2007.
1741:, Charles Harpole, general editor (University of California,
900:, was sacked, it was suggested that Fields co-direct it with
501:
Starting in the mid-1960s, Fields taught film editing at the
3516:
USC Annenberg School for Communication and Journalism alumni
452:
Fields' career as a film editor commenced when the director
1452:. This book is an updated version of Pollock, Dale (1983).
1321:
February 26, 2008. The DVD was released on August 12, 2003.
234:
149:
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American Cinema Editors Award for Best Edited Feature Film
1608:
Bordwell illustrates the "wipe-by" cut using the scene in
627:
has characterized the effect as "using rock 'n roll as a
16:
American film editor and entertainment industry executive
1662:"Did George Lucas and Steven Spielberg Ruin the Movies?"
2062:
2002:"Cutting For Impact: A Conversation With Verna Fields"
1292:
Irving Lerner had recommended her to Bogdanovich; see
293:
199:; March 21, 1918 – November 30, 1982) was an American
585:
670:
Verna Fields and Marcia Lucas were nominated for an
1955:"Verna Fields Award and Ethel Crutcher Scholarship"
797:
378:(1956). She worked on the experimental documentary
1552:
1339:
1108:Paul Golding is credited as editorial consultant.
1243:, October 23, 1980. Archived by WebCite from the
496:U.S. Department of Health, Education, and Welfare
3467:
1643:Lecture transcript posted at the website of the
1381:. Los Angeles: J. P. Tarcher. pp. 139–149.
934:
717:has characterized her editing as "sensational".
329:, including being the assistant sound editor on
1342:International Dictionary of Film and Filmmakers
1338:. In Pendergast, Tom; Pendergast, Sara (eds.).
721:, who interviewed Fields in 1980, wrote that, "
314:. Sam Hellman subsequently moved his family to
1454:Skywalking: The Life and Films of George Lucas
2799:
2774:Best Film Editing became Best Editing in 1999
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1804:
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462:(1960); Fields and Lerner had both worked on
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1878:
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681:
576:(1973), as well as his less successful film
472:, which was directed by Ben Maddow (another
447:
1582:
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1539:Leonard Maltin's 2004 Movie and Video Guide
908:, however, was hired to complete the film.
826:(the book's author), Fields helped promote
456:recruited her to be the editor of the film
318:, where he became a prolific screenwriter.
2806:
2792:
2055:
2041:
1888:. Women in Film Foundation. Archived from
1838:"FILM EDITING: 'Jaws' Did Not Need Saving"
1808:
1799:
1757:
1755:
1434:
1432:
1146:
1144:
750:has used the second shark attack scene in
655:than to the recent American past of, say,
342:
31:
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1681:. University of Illinois Press. pp.
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1186:
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1835:
1674:
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1618:
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1577:
1329:
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1268:"Fields: Up From the Cutting Room Floor"
1261:
1259:
1257:
1255:
1253:
1193:"Film Executive Verna Fields Dies at 64"
605:for the job, and introduced Griffin and
3491:Best Film Editing Academy Award winners
1752:
1505:(supplement to the 1998 DVD release of
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651:white—it is oddly closer to some early
130: 1946; died 1954)
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1559:. Columbia University Press. p.
1555:New Hollywood Cinema: An Introduction
1324:
1250:
1191:Folkart, Burt A. (December 2, 1982).
646:described the film and its editing: "
1866:"Films are made in the Cutting Room"
1633:from the original on October 6, 2010
1550:
1544:
1519:Greenspun, Roger (August 13, 1973).
1474:Sragow, Michael (October 13, 2000).
1377:(1984). "The Editor: Verna Fields".
1211:
1120:
2064:Academy Award for Best Film Editing
1939:. Universal Studios. Archived from
1768:(DaCapo Press), pp. 251–252.
1444:(DaCapo Press), pp. 116–117.
705:(1975), for which she won both the
483:The Legend of the Boy and the Eagle
294:Early life, education, and training
161:Academy Award for Best Film Editing
13:
1994:
1915:. London: W.H. Allen. p. 74.
1809:Rosenfield, Paul (July 13, 1982).
1172:"St. Louis Writers' Guild History"
883:Close Encounters of the Third Kind
14:
3532:
2017:
1836:Gottlieb, Carl (August 6, 1995).
1660:Edelstein, David (June 4, 2005).
1130:(Simon and Schuster), pp. 36-38.
548:, with whom Fields had worked on
503:University of Southern California
400:' Golden Reel Award for the film
323:University of Southern California
321:Verna Hellman graduated from the
225:University of Southern California
3496:Deaths from cancer in California
822:. Along with Brown, Zanuck, and
802:Shortly after the completion of
798:Management for Universal Studios
492:United States Information Agency
1969:
1947:
1929:
1904:
1855:
1829:
1778:
1725:
1699:
1668:
1531:
1512:
1503:The Making of American Graffiti
1495:
1467:
1415:
1395:
1367:
1346:(4 ed.). St. James Press.
127:
1957:. Motion Picture Sound Editors
1537:Maltin, Leonard (ed.) (2003).
1404:is credited as the editor for
1303:
1286:
1266:Murphy, Mary (July 24, 1975).
1165:
707:Academy Award for Film Editing
672:Academy Award for Film Editing
488:Office of Economic Opportunity
429:colleagues Strick and Maddow.
1:
1788:(St. Martin's Press), p. 45.
1766:Steven Spielberg: A Biography
1717:(3). May 2012. Archived from
1114:
935:Selected filmography (editor)
866:In 1981, she was awarded the
227:. Her one major studio film,
180:Women in Film Crystal Awards
3501:Film people from Los Angeles
1977:"Women in Film - Foundation"
1675:Friedman, Lester D. (2006).
1627:"We'll Fix It in the Edit!?"
921:Motion Picture Sound Editors
788:Motion Picture Editors Guild
762:'s affectionate comments on
398:Motion Picture Sound Editors
353:and the children's programs
7:
10:
3537:
1739:History of American Cinema
1707:"The 75 Best Edited Films"
1521:"American Graffiti (1973)"
913:Universal City, California
894:, the initial director of
674:in 1974 for their work on
593:In 1967, Fields had hired
433:'s first, low-budget film
298:Verna Hellman was born in
3280:
3251:and Andrew Dickler (2020)
3086:
2821:
2770:
2601:
2392:
2199:
2070:
1150:Buckland, Warren (2006).
1092:
1075:
1022:
977:
955:
923:(MPSE) sponsor an annual
448:Film editing and teaching
384:(1959); the co-directors
237:award for sound editing.
145:
137:
109:
101:
87:
68:
42:
30:
23:
2822:Best Edited Feature Film
1784:Gregory, Mollie (2003).
1423:"Journey to the Pacific"
1334:Gomery, Douglas (2000).
1309:Warren, Bill (undated).
552:, recruited her to edit
2006:American Film Institute
1731:Cook, David A. (2002).
1645:Berlinale Talent Campus
1604:10.1525/fq.2002.55.3.16
1154:(Continuum, New York).
842:, rightly or wrongly."
739:Berlinale Talent Campus
711:American Cinema Editors
535:American Film Institute
343:Career in sound editing
336:The Woman in the Window
305:St. Louis Post-Dispatch
284:American Cinema Editors
80:Los Angeles, California
3511:American sound editors
1886:"Awards Retrospective"
1711:Editors Guild Magazine
1438:Pollock, Dale (1999).
1298:Editors Guild Magazine
1272:Los Angeles Times View
784:
599:Journey to the Pacific
466:. In 1963, she edited
203:, film and television
3506:People from St. Louis
3486:American film editors
1943:on December 20, 2007.
1815:The Los Angeles Times
1625:Korda, Susan (2005).
1406:The Last Picture Show
1294:"Film Editors' Forum"
1247:on February 26, 2008.
1197:The Los Angeles Times
1178:on February 26, 2008.
1011:The Sugarland Express
768:
713:Eddie Award in 1976.
696:The Sugarland Express
693:'s first major film,
682:Steven Spielberg and
658:The Last Picture Show
561:The Last Picture Show
469:An Affair of the Skin
375:While the City Sleeps
311:Saturday Evening Post
3237:Yorgos Mavropsaridis
3151:Virginia Katz (2006)
2743:Mikkel E. G. Nielsen
2012:on February 4, 2012.
1811:"Women in Hollywood"
1551:King, Geoff (2002).
862:Later life and death
3521:Women sound editors
3183:Michel Hazanavicius
2995:Gabriella Cristiani
2977:Michael A. Chandler
2931:William H. Reynolds
2903:William H. Reynolds
2879:William H. Reynolds
2855:William H. Reynolds
2494:Gabriella Cristiani
2355:Gerald B. Greenberg
1937:"Universal Lot Map"
1911:Loynd, Ray (1978).
1476:"American Graffiti"
1126:Shone, Tom (2004).
1065:Sing a Country Song
794:was listed eighth.
300:St. Louis, Missouri
61:St. Louis, Missouri
3386:William Goldenberg
3342:Thelma Schoonmaker
3322:Thelma Schoonmaker
3310:Thelma Schoonmaker
2949:Thelma Schoonmaker
2831:Philip W. Anderson
2687:William Goldenberg
2639:Thelma Schoonmaker
2627:Thelma Schoonmaker
2436:Thelma Schoonmaker
1870:The New York Times
1842:The New York Times
1721:on March 17, 2015.
1541:(Penguin), p. 715.
1525:The New York Times
1086:Peter Bogdanovich
1057:Peter Bogdanovich
1039:Best Editing Oscar
972:Best Editing Oscar
925:Verna Fields Award
288:Universal Pictures
3461:
3460:
3392:Christopher Rouse
3348:Christopher Rouse
3231:Tatiana S. Riegel
3207:Crispin Struthers
3193:Crispin Struthers
3167:Debra Neil-Fisher
3126:Stephen E. Rivkin
3088:Comedy or Musical
3071:Richard A. Harris
2861:William B. Murphy
2837:Samuel E. Beetley
2781:
2780:
2645:Christopher Rouse
2574:Richard A. Harris
2466:Stephen A. Rotter
2313:Fredric Steinkamp
1892:on August 6, 2014
1817:. pp. 1–2, 5
1747:978-0-520-23265-5
1678:Citizen Spielberg
1507:American Graffiti
1462:978-0-241-11034-8
1456:(Harmony Books).
1450:978-0-306-80904-0
1388:978-0-87477-267-8
1353:978-1-55862-449-8
1160:978-0-8264-1692-6
1112:
1111:
1041:nomination (with
1028:American Graffiti
1016:Steven Spielberg
1001:Peter Bogdanovich
820:Richard D. Zanuck
676:American Graffiti
648:American Graffiti
640:American Graffiti
636:American Graffiti
634:Fields then left
612:American Graffiti
588:American Graffiti
586:George Lucas and
546:Peter Bogdanovich
431:Peter Bogdanovich
350:Death Valley Days
261:American Graffiti
215:Peter Bogdanovich
190:
189:
102:Years active
72:November 30, 1982
3528:
3338:Stephen Mirrione
3249:Matthew Friedman
3179:Anne-Sophie Bion
3161:Stephen Schaffer
3146:Michael McCusker
3051:Steven Rosenblum
3011:Steven Rosenblum
2897:David Bretherton
2891:Folmar Blangsted
2849:Cotton Warburton
2808:
2801:
2794:
2785:
2784:
2737:Michael McCusker
2592:Stephen Mirrione
2554:Daniel P. Hanley
2367:William Reynolds
2361:David Bretherton
2343:Françoise Bonnot
2307:William Reynolds
2301:Cotton Warburton
2267:Ralph E. Winters
2217:Harry W. Gerstad
2207:William Hornbeck
2190:Conrad A. Nervig
2186:Ralph E. Winters
2180:Harry W. Gerstad
2078:Conrad A. Nervig
2057:
2050:
2043:
2034:
2033:
2013:
2008:. Archived from
1989:
1987:
1985:
1983:
1973:
1967:
1966:
1964:
1962:
1951:
1945:
1944:
1933:
1927:
1926:
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1797:
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1776:
1759:
1750:
1737:, Vol. 9 of the
1729:
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1648:
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1345:
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1301:
1290:
1284:
1283:
1281:
1279:
1274:. pp. 1, 14
1263:
1248:
1228:
1209:
1208:
1206:
1204:
1188:
1179:
1169:
1163:
1148:
1139:
1124:
967:Steven Spielberg
939:
938:
917:Alfred Hitchcock
691:Steven Spielberg
494:(USIA), and the
425:(1963) with her
327:20th Century Fox
250:Steven Spielberg
131:
129:
75:
56:
54:
35:
21:
20:
3536:
3535:
3531:
3530:
3529:
3527:
3526:
3525:
3466:
3465:
3462:
3457:
3434:Alan Baumgarten
3328:Hughes Winborne
3284:
3276:
3259:Andrew Weisblum
3199:Alan Baumgarten
3098:Eric Zumbrunnen
3090:
3082:
2909:Michael Luciano
2873:Frank P. Keller
2867:Michael Luciano
2843:Harold F. Kress
2823:
2817:
2812:
2782:
2777:
2766:
2733:Andrew Buckland
2633:Hughes Winborne
2597:
2470:Douglas Stewart
2388:
2373:Harold F. Kress
2337:Frank P. Keller
2295:Harold F. Kress
2283:Thomas Stanford
2271:John D. Dunning
2249:Paul Weatherwax
2195:
2174:Paul Weatherwax
2116:James E. Newcom
2066:
2061:
2020:
2000:
1997:
1995:Further reading
1992:
1981:
1979:
1975:
1974:
1970:
1960:
1958:
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1948:
1935:
1934:
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1807:
1800:
1783:
1779:
1762:McBride, Joseph
1760:
1753:
1730:
1726:
1705:
1704:
1700:
1693:
1673:
1669:
1658:
1651:
1636:
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1623:
1616:
1588:Bordwell, David
1585:
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1375:McBride, Joseph
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1125:
1121:
1117:
1081:What's Up, Doc?
937:
892:John D. Hancock
864:
848:Joel Schumacher
800:
760:David Edelstein
733:The editing of
687:
644:Roger Greenspun
591:
568:What's Up, Doc?
555:What's Up, Doc?
512:Matthew Robbins
450:
345:
296:
255:What's Up, Doc?
217:'s first film,
186:
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3446:Eddie Hamilton
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3404:Margaret Sixel
3401:
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3325:
3319:
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3307:
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3295:
3292:Zach Staenberg
3288:
3286:
3285:(1999-present)
3278:
3277:
3275:
3274:
3268:
3262:
3255:Myron Kerstein
3252:
3246:
3240:
3234:
3228:
3222:
3216:
3213:Barney Pilling
3210:
3196:
3186:
3176:
3173:Chris Lebenzon
3170:
3164:
3158:
3155:Chris Lebenzon
3152:
3149:
3143:
3137:
3130:Arthur Schmidt
3123:
3117:
3111:
3101:
3094:
3092:
3091:(1999-present)
3084:
3083:
3081:
3080:
3074:
3063:Conrad Buff IV
3060:
3054:
3048:
3045:Arthur Schmidt
3042:
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3014:
3008:
3001:Gerry Hambling
2998:
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2989:Claire Simpson
2986:
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2693:Alfonso CuarĂłn
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2586:Zach Staenberg
2583:
2577:
2566:Conrad Buff IV
2563:
2557:
2547:
2544:Arthur Schmidt
2541:
2535:
2529:
2519:
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2503:
2500:Arthur Schmidt
2497:
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2488:Claire Simpson
2485:
2479:
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2458:Lisa Fruchtman
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2289:Anne V. Coates
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2277:Daniel Mandell
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2158:Daniel Mandell
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2146:Barbara McLean
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2134:Daniel Mandell
2131:
2128:William Holmes
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2018:External links
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2015:
2014:
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1968:
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1913:The Jaws 2 Log
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1592:Film Quarterly
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1336:"Verna Fields"
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1240:The Real Paper
1235:"Verna Fields"
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906:Jeannot Szwarc
863:
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824:Peter Benchley
799:
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748:David Bordwell
715:Leonard Maltin
689:Fields edited
686:
680:
631:with a beat".
625:Michael Sragow
603:Marcia Griffin
590:
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507:Douglas Gomery
464:The Savage Eye
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37:Fields in 1975
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3320:
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3316:Jamie Selkirk
3314:
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3308:
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3304:Pietro Scalia
3302:
3299:
3298:Pietro Scalia
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3067:James Cameron
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3027:Pietro Scalia
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2761:Jennifer Lame
2759:
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2651:Chris Dickens
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2628:
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2621:Jamie Selkirk
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2610:
2609:Pietro Scalia
2607:
2606:
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2600:
2593:
2590:
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2570:James Cameron
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2526:Pietro Scalia
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2507:
2506:David Brenner
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3398:Sandra Adair
3364:Bob Murawski
3120:Martin Walsh
3114:Jill Bilcock
3104:Joe Hutshing
3077:Michael Kahn
3057:Walter Murch
3039:Michael Kahn
3023:Joe Hutshing
2973:Nena Danevic
2955:Michael Kahn
2937:Peter Zinner
2925:Scott Conrad
2915:Verna Fields
2914:
2715:John Gilbert
2661:Bob Murawski
2615:Martin Walsh
2602:2001–present
2580:Michael Kahn
2560:Walter Murch
2538:Michael Kahn
2522:Joe Hutshing
2510:Joe Hutshing
2442:Michael Kahn
2424:Peter Zinner
2418:Richard Chew
2414:Marcia Lucas
2404:Scott Conrad
2383:Verna Fields
2382:
2317:Henry Berman
2255:Peter Taylor
2239:William Lyon
2229:Gene Milford
2223:William Lyon
2164:Francis Lyon
2106:Ralph Dawson
2100:Gene Milford
2096:Gene Havlick
2090:Ralph Dawson
2084:Ralph Dawson
2024:Verna Fields
2010:the original
1982:February 23,
1980:. Retrieved
1971:
1959:. Retrieved
1949:
1941:the original
1931:
1912:
1906:
1894:. Retrieved
1890:the original
1869:
1862:Kerr, Walter
1857:
1845:. Retrieved
1841:
1831:
1819:. Retrieved
1814:
1785:
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1738:
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1727:
1719:the original
1714:
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1677:
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1664:. slate.com.
1635:. Retrieved
1609:
1598:(3): 16–28.
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1485:. Retrieved
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1402:Donn Cambern
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1199:. p. 36
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1043:Marcia Lucas
1034:George Lucas
1026:
1009:
995:Daisy Miller
993:
982:Memory of Us
981:
959:
951:Other notes
910:
895:
888:Michael Kahn
886:(1977), but
881:
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629:Greek chorus
621:Walter Murch
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607:George Lucas
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579:Daisy Miller
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246:George Lucas
239:
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208:
205:sound editor
196:
193:Verna Fields
192:
191:
183:
176:
165:
154:
96:Sound editor
74:(1982-11-30)
25:Verna Fields
18:
3481:1982 deaths
3476:1918 births
3428:Yang Jin-mo
3422:John Ottman
3370:Kirk Baxter
3360:Chris Innis
3265:Paul Rogers
3219:Hank Corwin
3203:Jay Cassidy
3189:Jay Cassidy
3140:Paul Hirsch
3017:Neil Travis
2824:(1961-1998)
2755:Paul Rogers
2727:John Ottman
2697:Mark Sanger
2681:Kirk Baxter
2671:Kirk Baxter
2657:Chris Innis
2516:Neil Travis
2410:Paul Hirsch
2112:Hal C. Kern
1961:December 7,
1359:December 3,
1311:"Review of
1098:Medium Cool
852:Berry Gordy
816:David Brown
758:The critic
524:John Milius
520:Gloria Katz
490:(OEO), the
441:Bill Warren
422:The Balcony
276:blockbuster
235:Golden Reel
201:film editor
150:Golden Reel
92:Film editor
3470:Categories
3410:Joe Walker
3380:Kevin Tent
3374:Angus Wall
3271:Kevin Tent
3243:Tom Eagles
3134:Craig Wood
3108:Saar Klein
3005:Stu Linder
2983:Thom Noble
2961:John Bloom
2749:Joe Walker
2677:Angus Wall
2667:Angus Wall
2482:Thom Noble
2454:Glenn Farr
2448:John Bloom
2377:Carl Kress
2140:George Amy
1637:January 8,
1115:References
1052:Paper Moon
573:Paper Moon
474:Savage Eye
427:Savage Eye
413:Following
386:Ben Maddow
370:Fritz Lang
331:Fritz Lang
116:Sam Fields
53:1918-03-21
3416:Lee Smith
3225:Tom Cross
2943:Alan Heim
2721:Lee Smith
2703:Tom Cross
2550:Mike Hill
2476:Jim Clark
2430:Alan Heim
2393:1976–2000
2331:Hal Ashby
2200:1951–1975
2071:1934–1950
1847:March 26,
1821:March 26,
1749:), p. 42.
1481:salon.com
1278:March 26,
1203:March 26,
948:Director
902:Joe Alves
617:Universal
544:In 1971,
316:Hollywood
172:ACE Eddie
105:1954–1975
3282:Dramatic
3033:Joel Cox
2967:Tom Rolf
2532:Joel Cox
2462:Tom Rolf
1896:June 24,
1864:(1985).
1764:(1999).
1631:Archived
1319:original
1245:original
1233:(1980).
1176:original
709:and the
582:(1974).
564:(1971).
356:Sky King
333:'s film
308:and the
258:(1972),
138:Children
1683:172–173
1410:Targets
1313:Targets
653:Fellini
550:Targets
505:(USC).
498:(HEW).
436:Targets
282:and an
220:Targets
197:Hellman
132:
124:
120:
3454:(2023)
3448:(2022)
3442:(2021)
3436:(2020)
3430:(2019)
3424:(2018)
3418:(2017)
3412:(2016)
3406:(2015)
3400:(2014)
3394:(2013)
3388:(2012)
3382:(2011)
3376:(2010)
3366:(2009)
3356:(2008)
3350:(2007)
3344:(2006)
3330:(2005)
3324:(2004)
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3312:(2002)
3306:(2001)
3300:(2000)
3294:(1999)
3273:(2023)
3267:(2022)
3261:(2021)
3245:(2019)
3239:(2018)
3233:(2017)
3227:(2016)
3221:(2015)
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3053:(1995)
3047:(1994)
3041:(1993)
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2927:(1976)
2917:(1975)
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2899:(1972)
2893:(1971)
2887:(1970)
2881:(1969)
2875:(1968)
2869:(1967)
2863:(1966)
2857:(1965)
2851:(1964)
2845:(1963)
2839:(1962)
2833:(1961)
2763:(2023)
2757:(2022)
2751:(2021)
2745:(2020)
2739:(2019)
2729:(2018)
2723:(2017)
2717:(2016)
2711:(2015)
2705:(2014)
2699:(2013)
2689:(2012)
2683:(2011)
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2647:(2007)
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2594:(2000)
2588:(1999)
2582:(1998)
2576:(1997)
2572:, and
2562:(1996)
2556:(1995)
2546:(1994)
2540:(1993)
2534:(1992)
2528:(1991)
2518:(1990)
2512:(1989)
2502:(1988)
2496:(1987)
2490:(1986)
2484:(1985)
2478:(1984)
2472:(1983)
2468:, and
2450:(1982)
2444:(1981)
2438:(1980)
2432:(1979)
2426:(1978)
2420:(1977)
2416:, and
2406:(1976)
2385:(1975)
2379:(1974)
2369:(1973)
2363:(1972)
2357:(1971)
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1919:
1792:
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1385:
1350:
1158:
1134:
897:Jaws 2
776:Frenzy
478:Disney
416:El Cid
403:El Cid
392:, and
248:, and
230:El Cid
156:El Cid
146:Awards
110:Spouse
82:, U.S.
63:, U.S.
1093:1969
1076:1972
1023:1973
978:1974
956:1975
945:Film
942:Year
814:were
480:film
195:(née
182:1981
175:1975
164:1975
153:1962
126:(
122:
3372:and
3362:and
3336:and
3257:and
3205:and
3191:and
3181:and
3132:and
3106:and
3069:and
3025:and
2975:and
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2735:and
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2166:and
2114:and
2098:and
2028:IMDb
1984:2008
1963:2008
1917:ISBN
1898:2015
1849:2024
1823:2024
1790:ISBN
1770:ISBN
1743:ISBN
1687:ISBN
1639:2008
1610:Jaws
1565:ISBN
1489:2015
1458:ISBN
1446:ISBN
1383:ISBN
1361:2007
1348:ISBN
1315:DVD"
1280:2024
1205:2024
1156:ISBN
1132:ISBN
961:Jaws
929:UCLA
878:Jaws
854:and
840:Jaws
836:Jaws
828:Jaws
818:and
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804:Jaws
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723:Jaws
702:Jaws
684:Jaws
539:Jaws
526:and
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141:2
55:)
51:(
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