Hello, my name is Justin the Clu, I'm here today with Will Sloan, and you're listening

to The Important Cinema Club. And today, Snip, snip, we're talking about an editor, D.D.

Allen. Justin, no, get those scissors away from me.

We've never done an editor on the important cinema club, mostly because we've

discussed how it's difficult to kind of pinpoint the authorial signature of an editor for us.

Like, we're not saying that an editor does not shape a movie or even make it, you know, what it is,

but for us watching a film going, ah, yes, we can see the editorial

touch there is difficult. And speaking about the subject, we'll continue to be difficult.

Yeah, we're going to do our best folks. But it is interesting, though, because most people on

the crew are there to serve an author's vision. Most cinematographers, when they get to direct

their first movie, typically they're not very good because they've always been at the service of somebody else's vision when Gordon Willis makes windows, you know.

But you know, when an editor becomes a director, like all the poverty row guys started as editors and then became directors.

That's not necessarily the case.

Didy Allen never directed a film herself, even though listening to some

interviews with her, she did have an interest in it. But I think what is fascinating about her

career is that she basically like shaped New Hollywood working with like some of the biggest

names of that period. I mean, she edited Bonnie and Clyde, like the New Hollywood Kickoff

movie and then continued to work

with Arser Penn.

She worked with George Roy Hill.

She edited Signall Lommett's Dog Day Afternoon.

Like her career, like Warren Beatty's Reds, which was a massive undertaking, like you

...