Jerry Greenberg, Oscar-Winning Editor of ‘The French Connection,’ Dies during 81
December 23, 2017 - Finding Carter
He also is famous for his work on other films including ‘Kramer vs. Kramer,’ ‘Apocalypse Now’ and ‘Scarface.’
Jerry Greenberg, a film editor whose Oscar-winning work on a 1971 crime thriller The French Connection produced one of a many famous automobile chases in cinema history, died Friday after a prolonged illness. He was 81.
Greenberg warranted dual additional Oscar nominations, both in 1980, for Kramer vs. Kramer and Apocalypse Now. In 2015, he was respected by a American Cinema Editors with a Career Achievement Award.
Gerald B. Greenberg began his career in 1960 in his local New York, where he schooled how to revise song and began familiarizing himself with a Moviola, splicers, synchronizers and recorders. A large mangle came when he was offering an apprenticing pursuit for a mythological Dede Allen on Elia Kazan’s America America (1963).
By 1967, when Greenberg and Allen were on Bonnie and Clyde, Greenberg was given a charge of modifying a integrate of a shootout scenes, operative closely with Allen and executive Arthur Penn on them. He cut his initial solo feature, Bye Bye Braverman, for executive Sidney Lumet in 1968 and won a Oscar and a BAFTA for modifying William Friedkin’s French Connection soon afterward.
Greenberg is famous for his work on many of a films of a American New Wave, operative for directors like Penn, Francis Ford Coppola, Lumet, Michael Cimino, Brian De Palma and Friedkin.
His filmography also includes Alice’s Restaurant (1969), The Boys in a Band (1970), They Might Be Giants (1971), Dressed to Kill (1980), Heaven’s Gate (1980), Reds (1981), Still of a Night (1982), Scarface (1983), Wise Guys (1986), The Untouchables (1987), The Accused (1988), Awakenings (1990), American History X (1998), Inspector Gadget (1999), Get Carter (2000) and Trapped (2002).
Presenting a ACE Career Achievement Award to Greenberg, editor Carol Littleton spoke of his work on Apocalypse Now, saying: “Jerry skilful edits a holding of a Vietnam encampment regulating Wagner’s Ride of a Valkyries, which Robert Duvall’s impression plays to enthuse his infantry and horrify a enemy. This iconic stage … zero improved captures a baleful stupidity of a fight in Vietnam, a design of a American Dream incited nightmare.”
She continued: “Jerry takes good honour in his proceed to editing, energetically operative a stage for a limit psychological and kinetic effect. He controls a emotions, never vouchsafing view tumble into sentimentality. He lines a actors’ takes, anticipating bullion nuggets, polishing a opening until it shines. He examines each take for a right camera move, a hint of luminosity when a actor becomes a moment. His movement sequences are tight, controlled, focused and always suffused with character, never gratuitous, never pell-mell or lacking in psychological impact.”
Speaking of a editors that Greenberg has mentored, Littleton added: “Not usually has Jerry contributed to a success of directors’ films, though also to a success of many editors’ careers as well. Generosity is a bedrock of Jerry’s character.”