Space Jam is a 1996 American live-action/animated family sports comedy film directed by Joe Pytka. Starring basketball player Michael Jordan, the film depicts an alternate history of what happened between Jordan's initial retirement from the NBA in 1993 and his comeback in 1995, in which he is enlisted by Looney Tunes characters Bugs Bunny and his friends to help them win a basketball match against a group of aliens who want to enslave them for their amusement park; the film marks the first appearance of Bugs' love interest, Lola Bunny. Released theatrically by Warner Bros. Family Entertainment on November 15, 1996, Space Jam received mixed reviews from critics for the film's merits of combining Jordan and his profession with the Looney Tunes characters. Despite this, the film opened at No. 1 in the North American box office and grossed over $230 million worldwide, becoming the highest-grossing basketball film of all-time. A sequel, starring LeBron James, is scheduled for release on July 16, 2021.
In 1993, Michael Jordan announces his retirement from professional basketball to follow his now-deceased father's career in baseball. Facing much less success, he is assigned a publicist/assistant, the bumbling Stan Podolak, to smooth the transition. Elsewhere in outer space, an intergalactic amusement park named, they divebomb to the center of the earth. Despite having powerful laser guns, the Nerdlucks are tricked into thinking that their prisoners have a chance to defend themselves; the Nerdlucks steal the talents of NBA players Charles Barkley, Shawn Bradley, Patrick Ewing, Larry Johnson and Muggsy Bogues. The sudden incapacity of the five men leads to worldwide panic that results in the NBA season ending early, they try to restore their skills through practice, hospitalization and prayer, but to no avail. To intimidate the Looney Tunes, the Nerdlucks absorb the talent in front of them, transforming into monsters twice as large as them with dark basketball uniforms to which Sylvester dubs them the "Monstars".
Bugs realizes that they're going to need professional help. While golfing with Bill Murray, Larry Bird and Stan, Jordan is sucked down a hole by Yosemite Sam's lasso and into the Looney Tunes' land. There, the Looney Tunes are all happy to meet him, despite Jordan dismissing it as a dream. Bugs uses his usual comedy to make. Jordan agrees to train them. However, right before he can start teaching them, the Monstars break into the gym to intimidate the Tunes further. Deciding to play against the Monstars Jordan sends Bugs and Daffy Duck to retrieve his basketball gear from home. Stan spots Bugs and Daffy and pursues them to the Tunes' world, reuniting with Jordan and joining their team, the Tune Squad. Another new recruit is Lola Bunny, a skilled player with whom Bugs is smitten. On the day of the match, the Monstars dominate the first half. Stan overhears the Monstars tell Swackhammer how they gained their talent, informs the Tune Squad. Bugs and Jordan rally the team and power through the third quarter with old-school gags and Acme weaponry.
During a timeout, Jordan raises the stakes with Swackhammer: a win by the Tune Squad would require the Monstars returning their stolen talents, while a win by the Monstars would require them earning Jordan as a new attraction. To ensure victory, Swackhammer orders the Monstars to play rough, injuring the Tune Squad until only Jordan, Daffy and Stan remain. Stan manages to score but is flattened by the Monstars and removed from the court; the referee, Marvin the Martian, informs Jordan that without a fifth player, the Tune Squad will have to forfeit. Bill Murray arrives and volunteers, much to Daffy's confusion. In the final seconds of the game, Jordan gains the ball but is grabbed by the Monstars during a jump to the basket. Remembering that Bugs told him that cartoon physics apply to him, he extends his arm and scores the winning points, thus making the Tune Squad the winner of the match. Seeing the Monstars get yelled at by Swackhammer, Jordan helps them realize that they only listened to him because they were smaller.
With the Tunes watching with satisfactory smiles, Swackhammer is encased in a rocket by the Monstars and sent back to his amusement park. Giving up their stolen talent, the reformed Nerdlucks are recruited into the Looney Tunes ensemble and drop off Jordan and a recovered Stan at Jordan's next baseball game. Jordan and Stan visit the incapacitated basketball players and return their talent to which the players provoke a reluctant Jordan into participating in a three-on-three match; the film ends with Jordan's 1995 return to the Chicago Bulls to resume his basketball career. Some of the film's live-action cast play fictional versions of themselves: Michael Jordan as himself, the Chicago Bulls star shooting guard, who retires from the NBA to follow in his father's footsteps in baseball. Brandon Hammond as 10-year-old Michael Jordan. Wayne Knight as Stan Podolak, a publicist and assistant who helps Jordan. Theresa Randle as Juanita Jordan, Michael's supportive wife. Bill Murray, an actor, one of Jordan's friends.
Larry Bird, the former Boston Celtics forward, one of Jordan's friends. Charles Barkley, the Phoe
Richard Franklin Chew is an American film editor and cinematographer, best known for his Academy Award-winning work on Star Wars, alongside Paul Hirsch and Marcia Lucas. Other notable films include One Flew Over the Cuckoo's Nest, Risky Business, Waiting to Exhale, That Thing You Do!, I Am Sam. His career as an editor and cinematographer of a variety of films spans more than four decades. Born of Chinese immigrant parents in Los Angeles, Chew attended its inner-city schools, served in the U. S. Navy, graduated from UCLA with a B. A. in Philosophy. After a stint at Harvard Law School, inspired by the independent cinema of the 1960s, left school to pursue a film career. Starting with his camera and editing work on documentaries, such as The Redwoods, an Oscar winner for Best Short Documentary in 1967, he transitioned to editing feature films as co-editor on Francis Coppola's The Conversation, Miloš Forman's One Flew Over the Cuckoo’s Nest, George Lucas's Star Wars. During his varied career, he has edited films for actor-directors such as Jack Nicholson, Tom Hanks, Forest Whitaker.
Other writer-directors with whom Chew has worked include: Cameron Crowe, Paul Brickman, Bruce Joel Rubin, Emilio Estevez. Chew was Oscar-nominated, he won British Oscars as co-editor on both The Conversation and One Flew Over the Cuckoo’s Nest. His work on Shanghai Noon was nominated for Best Feature Comedy by American Cinema Editors. At various times throughout his editing career, Chew has taught and lectured with the goal of enhancing audience appreciation for the cinema arts. For over thirty years, he has appeared at art schools and colleges and community groups. On January 27, 2011, he was honored at the Detroit Institute of Arts with “An Evening with Richard Chew,” a program featuring clips of some of his extensive work plus an interview conducted by DIA film curator Elliot Wilhelm. Additionally, Chew was named Allessee Visiting Professor of Media at Wayne State University for the 2011 Spring semester. In September 2013, Chew was selected as a Duncan Littlefair Great Speaker in the Creation Talks Series, joining the ranks of renowned speakers from the worlds of politics and arts.
He spoke about the power of music in film at the legendary Fountain Street Church in Grand Rapids, Michigan.. He is a member of the Academy of Motion Picture Arts & Sciences, Motion Picture Editors Guild, American Cinema Editors. Richard Chew on IMDb Richard Chew at AllMovie Kunkes, Michael. "Cutting with a Conscience: Richard Chew is an Ambassador for the Under-represented". Editors Guild Magazine. 27. "Interview with Richard Chew", Editors Guild Magazine, July 25, 2010
My Super Ex-Girlfriend
My Super Ex-Girlfriend is a 2006 American superhero comedy film directed by Ivan Reitman and starring Uma Thurman, Luke Wilson, Anna Faris, Eddie Izzard, Rainn Wilson, Wanda Sykes. After foiling a purse snatcher who tries to steal Jenny Johnson's purse on the subway, Matthew Saunders becomes Jenny's "hero" and starts dating this shy stranger. After several dates, Jenny displays neurotic and aggressive behavior, becoming more demanding and injuring Matt and destroying his bed the first time they have sex. Soon after, Jenny reveals to him that she is in fact the voluptuous blonde superheroine, G-Girl, who accidentally received powers such as flight, superhuman strength and senses, super breath, heat vision after she was exposed to radiation from a crashed meteorite as a teenager. Jenny starts to become more controlling after she reveals her powers and Matt starts to lose his mind. Hannah Lewis, Matt's co-worker, has a crush on him despite the fact that she is going out with a handsome but shallow underwear model.
As Matt and Hannah's friendship develops further, after becoming aggravated with Jenny's escalating jealousy, Matt ends the relationship. An enraged Jenny vows to make Matt regret the decision, using her superpowers to publicly embarrass him, throwing his car into space and causing him to lose his job as an architect when she strips him naked during an important meeting. Professor Bedlam, Jenny's former friend, now G-Girl's nemesis, contacts Matt in order to enlist his aid in defeating her. Matt makes plans to leave the city; as he does so he is contacted by Hannah who has broken up with her cheating boyfriend, after confessing their feelings to each other, they end up having sex in bed. Jenny discovers them in bed the next day. Enraged and jealous, she attacks the pair with a great white shark. Angered, Matt contacts Professor Bedlam and agrees to help him defeat her, as long as Bedlam retires from being a supervillain, he instructs Matt to lure Jenny to a meeting where she can be exposed to another meteorite that will draw away her powers, leaving her a mere mortal.
Matt agrees and meets Jenny for a candlelit dinner at his apartment, under the pretense of wanting to resume their relationship. Hannah arrives to see Jenny sitting on Matt's lap; the two women fight, in the struggle Jenny's superhero identity is revealed to Hannah. Bedlam's trap is sprung, the energy that gave Jenny her powers is drained back into the meteorite, incapacitating Jenny. Professor Bedlam appears, but reveals that he has no intention of keeping his promise to retire from villainy and in fact plans to take the powers for himself. While he and Matt fight, Jenny crawls to the charged meteorite attempting to regain her powers. Hannah intervenes. Both Hannah and Jenny are catapulted off the roof to their deaths. Only the unexpected reappearance of Hannah, exposed to the meteorite's energies, now possesses the same powers as G-Girl, saves Matt; the second fight between Hannah and Jenny is a full-on super-brawl, destroying part of the neighboring properties. Matt reasons with them both and they cease fighting.
He tells Jenny. Jenny agrees and she embraces her former nemesis; the next morning and Hannah meet up with Professor Bedlam and Jenny. As cries for help are heard from afar and Hannah, who have become partners in crime-fighting, take off to tackle the emergency. Matt and Barry are left holding their girlfriends' purses and clothes, leave to have a beer together. Uma Thurman as Jennifer Johnson / G-Girl, a confused, insecure young woman who happens to be a superheroine, thanks to her contact with a mysterious meteorite; when she falls in love with Matt, she becomes controlling and demanding with him, when he tries to break up with her, sets out to make his life a living hell through abusing her super powers. Tara L. Thompson as Young Jenny Johnson Luke Wilson as Matthew "Matt" Saunders, the protagonist, he begins dating Jenny after capturing a thief who snatched her purse, but breaks up with her due to her controlling and demanding behavior. He finds out that Jenny is in fact G-Girl. Anna Faris as Hannah Lewis, Matt's co-worker, secretly in love with him.
She winds up gaining superpowers due to contact with the same meteorite. Eddie Izzard as Barry Edward Lambert / Professor Bedlam, G-Girl's ex-boyfriend and nemesis and the main antagonist, he retires from villainy in the end. Kevin Townley as Young Barry Lambert Rainn Wilson as Vaughn Haige, Matt's crude and sex-crazed best friend, who gives him dubious advice about picking up women, despite the fact that he himself is hopeless when it comes to dating. Wanda Sykes as Carla Dunkirk and Hannah's nosy and uptight boss who ends up firing the former thanks to a jealous Jenny. Stelio Savante as Leo, one of Bedlam's hired goons. Mike Iorio as Lenny, another of Bedlam's hired goons. Mark Consuelos as Steve Velard, a handsome but shallow underwear model, Hannah's boyfriend at the beginning, the primary reason Matt doesn't ask her out early on, she leaves him after catching him in a ménage á trois. Tom Henry as the guy in the red cast Margaret Anne Florence as the bartender, who works at the bar where Matt and Vaughn like to hang out.
A running gag involves Vaughn's repeated attempts to date with her, which are unsuccessful until the end when they both get caught in the middle of an epic super-battle between Jenny and H
John Ottman is an American film composer and editor. He is best known for collaborating with director Bryan Singer, composing and/or editing many of his films, including Public Access, The Usual Suspects, Superman Returns and Jack the Giant Slayer, as well as the X-Men film series. For his work on Singer's 2018 Queen biopic Bohemian Rhapsody, Ottman won the Academy Award for Best Film Editing. Ottman was born in California, he attended De Anza College and transfer the School of Cinematic Arts of the University of Southern California, where he graduated in 1988. One of his first assignments was to provide original music for the computer game I Have No Mouth, I Must Scream. In 2007, Ottman appeared in the documentary Finding Kraftland for his agent Richard Kraft, he is best known for his collaborations with film director Bryan Singer, acting as editor and composer for his films The Usual Suspects, Apt Pupil, X2, Superman Returns, Jack the Giant Slayer and X-Men: Days of Future Past. Other notable films he worked on as composer are Snow White: A Tale of Terror, the 2005 remake of House of Wax, Kiss Kiss Bang Bang, Fantastic Four and its sequel Fantastic Four: Rise of the Silver Surfer, The Invasion, Astro Boy.
He directed the 2000 horror film Urban Legends: Final Cut. He won a BAFTA Award for Best Editing for The Usual Suspects, as well as two Saturn Awards for Best Music for The Usual Suspects and Superman Returns. In 2019, he was nominated for a BAFTA Award for Best Editing and won the ACE Eddie Award and the Academy Award his work on Bohemian Rhapsody. Upon Bohemian Rhapsody getting nominated for, winning, its Best Editing awards, several clips from the film went viral online and were criticized for their poor editing styles and continuity errors. Ottoman, aware of the quality of the clips, explained that they were the result of mixing Singer and Dexter Fletcher shot scenes and in response to the producers' and test audiences' desires for dialogue and pacing, he wished he could have handled them differently. List of film director and editor collaborations John Ottman on IMDb John Ottman's Official Website John Ottman's Official Facebook Profile Interview with John Ottman Interviews with John Ottman at FilmMusicSite
Ralph Rosenblum was an American film editor who worked extensively with the directors Sidney Lumet and Woody Allen. He won the 1977 BAFTA Award for Best Editing for his work on Annie Hall, published an influential memoir When the Shooting Stops, the Cutting Begins: A Film Editor's Story. Towards the end of the World War II in 1945, Rosenblum worked as a filmmaking apprentice in the U. S. Office of War Information. Following the war he became van Dongen's assistant while she was editing Robert Flaherty's film Louisiana Story, was credited as an editor on Of Human Rights, which van Dongen produced and directed. Much of Rosenblum's work in the 1950s and early 1960s was in television. With Sid Katz and Gene Milford, he formed a company, MKR Films, that provided editorial services for television shows and corporate films. In the 1960s, Rosenblum edited four films directed by Sidney Lumet, starting with Long Day's Journey into Night; these films, which were all serious dramas, were important to Rosenblum's career.
The montage ending of Fail Safe, depicting the last few moments of life on earth, the use of concentration camp flashbacks in The Pawnbroker, brought Rosenblum his first industry recognition. Paul Monaco has summarized Rosenblum's editing innovations on The Pawnbroker, as well as their influence, as follows, "In his work on The Pawnbroker, Rosenblum imitated devices from several French films of the previous decade, but he extended them. Like Dede Allen, Rosenblum broke editing rules. More and like her his innovations shifted editing away from its traditional reliance on telling a story to the creation of a new and penetrating subjectivity in the feature film."In 1966, Rosenblum was nominated for an American Cinema Editors "Eddie" award for A Thousand Clowns, directed by Fred Coe. In 1968, Rosenblum was hired as an "editorial consultant" to help a young Woody Allen hone a large amount of footage into what became Allen's first film, the mockumentary Take the Money and Run. Rosenblum went on to edit the next five of Allen's films, including Annie Hall, for which he won the 1977 BAFTA Award for Best Editing with Wendy Greene Bricmont.
Interiors was Rosenblum's last film with Allen. Rosenblum and Allen came to a mutual decision. Susan E. Morse, Rosenblum's assistant editor on several of Allen's films, became his successor and edited Allen's films for the ensuing twenty years. For the last film, Allen was involved in the editing and was fearful concerning the reception of the film. Allen's biographer Eric Lax quoted Rosenblum about the film: He managed to rescue Interiors, much to his credit, he was against the wall. I think, he was testy, he was short-tempered. He was fearful, he thought. But he managed to pull it out with his own work; the day the reviews came out, he said to me,'Well, we pulled this one out by the short hairs, didn't we?' In 1979, Rosenblum published a book written with Robert Karen, When the Shooting Stops, the Cutting Begins: A Film Editor's Story. Gallagher described the importance of this book as follows: Ralph Rosenblum did a service to editors everywhere with the 1979 publication of his memoir When the Shooting Stops... the Cutting Begins, a popular volume which gave the first insider's explanation of what goes into film editing....
In the book Rosenblum revealed that he had saved several films by creatively reshaping the footage, such as William Friedkin's The Night They Raided Minsky's and Woody Allen's first major film as a director, Take the Money and Run. Rosenblum's revelations helped bring credit to the film editing profession, forced scholars to reconsider editorial contributions. According to his widow, Davida Rosenblum, "He was an autodidact when it came to his prodigious knowledge of music, used both jazz and classical music as temporary or permanent scores in many of the films he edited. Many of the composers exposed to his temporary tracks used them as a guide."Rosenblum worked as a director for about five years, commencing with the documentary film Acting Out. His films included Summer Solstice, made for television and, actor Henry Fonda's last film. For the last eight years of his life, Rosenblum taught film and film editing at Columbia University as a Full Professor of Film Directing despite having not attended college himself.
In his final decade, Rosenblum taught editing at the International Film and Television Workshops in Rockport, Maine. For the final four years, he was an Artist in Residence. Rosenblum had been selected as a member of the American Cinema Editors; the director of each film is indicated in parenthesis. Long Day's Journey into Night Fail-Safe The Pawnbroker A Thousand Clowns The Group The Producers The Night They Raided Minsky's Goodbye, Columbus Take the Money and Run Bananas Sleeper Love and Death Annie Hall North Star: Mark di Suvero Interiors Summer Solstice List of film director and editor collaborations Notes Further reading Rosenblum, Davida. Reflections: A Memoir. Xlibris. ISBN 9781436321785. OCLC 237789
Ghostbusters is a 1984 American fantasy comedy film produced and directed by Ivan Reitman and written by Dan Aykroyd and Harold Ramis. It stars Bill Murray and Ramis as Peter Venkman, Ray Stantz and Egon Spengler, eccentric parapsychologists who start a ghost-catching business in New York City. Sigourney Weaver and Rick Moranis co-star as her neighbor Louis Tully. Aykroyd conceived Ghostbusters as a project for himself and fellow Saturday Night Live alumnus John Belushi, with the protagonists traveling through time and space. Aykroyd and Ramis rewrote the script following Belushi's death and after Reitman deemed Aykroyd's initial vision financially impractical. Filming took place from October 1983 to January 1984. Ghostbusters was released in the United States on June 8, 1984, it received positive reviews and grossed $242 million in the United States and more than $295 million worldwide, making it the highest-grossing comedy film of its time. At the 57th Academy Awards, it was nominated for Best Original Song.
The American Film Institute ranked Ghostbusters 28th on its 100 Years...100 Laughs list of film comedies. In 2015, the United States Library of Congress selected the film for preservation in the National Film Registry, finding it "culturally or aesthetically significant". Ghostbusters launched a media franchise, which includes a 1989 sequel, two animated television series, video games, a 2016 reboot. Peter Venkman, Raymond Stantz, Egon Spengler are scientists investigating the paranormal at Columbia University. After they lose their jobs following a botched ghost investigation at the New York Public Library, they establish Ghostbusters, a paranormal investigation and elimination service, they develop high-tech equipment to capture ghosts. On their first call, at a hotel, Egon warns the group never to cross the energy streams of their proton pack weapons, as this could cause a catastrophic explosion, they capture their first ghost and deposit it in a special containment unit in the firehouse. As paranormal activity increases in New York City, they hire a fourth member, Winston Zeddemore, to cope with demand.
The Ghostbusters are retained by cellist Dana Barrett, whose apartment is haunted by a demonic spirit, Zuul, a demigod worshiped as a servant to Gozer the Gozerian, a shape-shifting god of destruction. Venkman competes with accountant Louis Tully, for her affections; as the Ghostbusters investigate, Dana is possessed by Zuul the Gatekeeper, while Louis is possessed by her counterpart, Vinz Clortho the Keymaster. Both demons speak of the coming of "Gozer the Destructor" and the release of the imprisoned ghosts; the Ghostbusters take steps to keep the two apart. Walter Peck, an Environmental Protection Agency lawyer, has the Ghostbusters arrested for operating as unlicensed waste handlers, he orders their ghost containment system deactivated, causing an explosion that releases all the ghosts. The ghosts wreak havoc throughout New York City. Consulting blueprints of Dana's apartment building, the Ghostbusters learn that mad doctor and cult leader Ivo Shandor, declaring humanity too sick to exist after World War I, designed the building as a gateway to summon Gozer and bring about the end of the world.
The Ghostbusters are released from custody to combat the supernatural crisis. On the apartment building roof and Vinz open the gate between dimensions and transform into supernatural hellhounds. Gozer, in the form of a woman, is attacked by the team. Gozer vanishes, but demands that the Ghostbusters "choose the form of the destructor". Ray inadvertently recalls a beloved corporate mascot from his childhood and Gozer appears as the giant Stay Puft Marshmallow Man that attacks the city; the Ghostbusters cross their proton pack energy fire them at Gozer's portal. The explosion closes the gate, destroys the Marshmallow Man, banishes Gozer back to its dimension; the Ghostbusters are welcomed on the street as heroes. The Ghostbusters concept was inspired by Dan Aykroyd's fascination with the paranormal, his father wrote the book A History of Ghosts. Aykroyd conceived Ghostbusters as a vehicle for himself and his friend and fellow Saturday Night Live alumnus John Belushi. Aykroyd saw Ghostbusters as an opportunity to modernize the ghost films The Ghost Breakers and Ghost Chasers.
Around 1982, Ivan Reitman, along with Joe Medjuck and Michael C. Gross, had been working with Douglas Adams on an option for a film adaptation of Adams' The Hitchhiker's Guide to the Galaxy; as part of casting considerations for that film, Reitman suggested that Ford Prefect be played by an American actor to help connect the British work to overseas audiences, recommended Aykroyd or Bill Murray. During this process, Aykroyd presented Reitman with his script, which he felt was a better film, Medjuck and himself postponed development of Hitchhiker's Guide to develop this script. According to Reitman, Aykroyd's first treatment was 70 or 80 pages long, set in the future in space, with numerous creatures. Reitman liked the basic idea but saw the budgetary impracticality of Aykroyd's draft. Reitman wanted to show how the Ghostbusters started their business. In May 1983, Reitman went to the office of Columbia Pictures president Frank Price to pitch the project. Price green-lit the project for $30 million, with the stipulation that the film had to be released by June 1984.
At Reitman's suggestion, Harold Ramis was brought in to improve the script. Aykroyd and Ramis rewrote the screenplay in a Martha's Vineyard basement in the following weeks. To provide storybo
Samuel Alexander O'Steen was an American film editor and director. He had an extended, notable collaboration with the director Mike Nichols, with whom he edited twelve films between 1966 and 1994. Among the notable films that O'Steen edited were Who's Afraid of Virginia Woolf, Cool Hand Luke, The Graduate, Rosemary's Baby, Chinatown. On a 2012 listing of the 75 best edited films of all time, compiled by the Motion Picture Editors Guild based on a survey of its members, both The Graduate and Chinatown appear. O'Steen was raised in California; as a child in Burbank, he would try to make it onto the Warner Bros. lot hoping it could be an entree to work in the editing room. He was able to secure a position as an assistant editor in 1956, when he became George Tomasini's assistant editor on Alfred Hitchcock's 1957 film The Wrong Man; as was typical at the time, he served as an assistant editor at Warner Brothers for eight years. Within a year, O'Steen had become the editor on Mike Nichols' first film as a director, Who's Afraid of Virginia Woolf?.
O'Steen was Nichols' principal editor for nearly thirty years, during which he edited twelve of Nichols' films. O'Steen had been working as a principal editor for only three years when he edited Nichols' second film, The Graduate, but Patrick J. Sauer considers this film to be the epitome of O'Steen's editing: Nowhere are O'Steen's skills more apparent than in Dustin Hoffman's classic debut film, The Graduate. O'Steen gives the audience time to study the performer's face before cutting the scene. O'Steen allows for long, personal looks at Hoffman's facial expressions to give the viewers an idea of what the character is thinking instead of the "quick-cutting" seen so in modern films. In The Graduate Hoffman's expressions at the party scene are as important to the character as any bit of dialogue and O'Steen does not cut the scene short. In his volume from the History of American Cinema series, Paul Monaco emphasizes the innovative aspects of the editing of The Graduate:...with The Graduate, both Nichols and O'Steen had an opportunity to push their collaboration in the direction of a more innovative editing style.
For example, one sequence in the film begins with the recent college graduate Benjamin floating on an air mattress in his parents' swimming pool. As he leaves the pool to walk back into their house, the scene cuts smoothly to a room where Benjamin is meeting an older woman... for clandestine sex. Over the next couple of minutes through continuous editing the scenes shift back and forth between his parents' home pool and Benjamin's mental projections of his meetings with Mrs. Robinson.... This associational montage shows adeptness of the editing technique and reinforces the inner sense of Benjamin's feelings of alienation and ambivalence... O'Steen directed seven films for television in the 1970s and 1980s, most notably Queen of the Stardust Ballroom and Kids Don't Tell, he directed one feature film Sparkle. His editing of The Graduate was honored by a BAFTA Award for Best Editing, he was nominated for this award again for Chinatown, he was nominated three times for the Academy Award for Best Film Editing, for Who's Afraid of Virginia Woolf and Silkwood.
In 1976, O'Steen won the "Most Outstanding Television Director" award from the Directors Guild of America. His film Queen of the Stardust Ballroom won the Outstanding Directorial Achievement Award in the category "Movies for Television and Mini-Series". O'Steen was nominated for an Emmy award for "Outstanding Directing in a Special Program - Drama or Comedy" for his work on Queen of the Stardust Ballroom. O'Steen was married twice, had four daughters, his memoir, Cut to the Chase: Forty-Five Years of Editing America's Favorite Movies, was published in 2001, shortly after O'Steen's death, by his second wife, Bobbie Meyer. The book is written as a transcript of O'Steen's responses to questions posed by his wife Bobbie, with sidebars about individual films and filmmakers. Ray Zone characterized it as "one of the best anecdotal histories of filmmaking in print." List of film director and editor collaborations Sam O'Steen on IMDb