Acknowledgments

Just as an edit is more than the sum of its parts, an editing book includes the generous contributions of many. Above all I’d like to thank Debbie Glovin, who suggested expanding this idea into a book, lent intellectual insights, and helped edit the manuscript. I owe my heartfelt gratitude to my helpful, flexible, and dedicated editor at Focal Press, Simon Jacobs, his highly supportive and diligent assistant, John Makowski and project manager, Marie Louise Roberts—you all made the process a delight. And special thanks to George Lucas, who generously gave me permission to use his remarks reflecting the core concept of this book. Also, my deep gratitude to Dean Elizabeth M. Daley, Chair Michael Fink, Assistant Chair Cedric Berry, and my other colleagues at the USC School of Cinematic Arts. I owe a great deal to my students, who have brought as much to my life as theirs. Also, I’d like to acknowledge UCLA Extension program director Pascale Halm for basing a course on this book. To the talented filmmakers who generously shared their time and professional expertise by guest lecturing to my students, I wish to thank Mark Adler, Alan Baumgarten, Conrad Buff, Richard Chew, Michael Cioni, Arthur Coburn, Philippe Denham, Michael Economou, Michael Fink, William Goldenberg, Andrew Golov, Michael Gottlieb, Bruce Green, Michael Knue, David Macquilling, Jed Nolan, John Norvet, Richard Pearson, John Poll, Jonathan Sanger, Garry Schyman, Norman Wallerstein, and John Wiseman. Some of their words also appear in this book. My sincere gratitude to those who helped me create or obtain images and permissions for the book, including artist Michael Rosenberg, Joe Bogdanovic of West L.A. Post, Scott Laster of Christy’s Editorial, Joel Marshall of Atomic Film Company, Ron Mandlebaum of Photofest, Laura Muhlhammer of Lucas Films, Ltd., Hugh Neely of the Institute for Film Education, and Jim Turner of Moviola. To Tom Walls and Robert Brown, who mentored me in the early years, I offer my deep thanks. Appreciation also belongs to Arthur Schmidt and the late Ralph Winters, who shared their creative insights with me. My profound gratitude extends to the feature film directors with whom I’ve had the privilege of working: Doug Barr, Ron Ford, John Hancock, Neal Israel, Mark Kolbe, Mike Mendez, Philippe Mora, Jed Nolan, Jeffrey Obrow, Bob Rafelson, Stewart Raffill, Alan Rudolph, Andrew van Slee, Kurt Voss, Dan Wechsler, Yuri Zeltser, and Livi Zheng. Special thanks to Lisa Axelrad, Nina Fallon of ILM, Mark and Emilyn Feldberg, Irv Glovin, Scott Hosfeld, Kim and Barbara Marienthal, Maria Newman, Nancy Ong, Inge Price, Steve Smith, Steven and Dana Weinberg, and ballet dancer and rising filmmaker Sarah R. Rosenberg. To Michael Rosenberg for the excellent illustrations. And finally to my brother James, the doctor; to my late brother and preeminent entertainment attorney Daniel; to my mother Maryanne; and to my father Frank, whose great command of storytelling and love for filmmaking inspired me even as he advised me time and again to go into a saner line of work.