Kristin Marguerite Doidge
The two legendary picture editors will receive a Career Achievement Award on Friday, January 18, as part of the 75th Annual Ace Eddie Awards for American Film Editors (ACE).
Maysie Hoy of Ace and Paul Hirsch of Ace will be recognized for their outstanding contributions to film editorship. The event was scheduled for January 18 but was postponed due to the Eaton/Palisades fire in January and has evolved into a fundraising event to support people affected by the fire. In addition to recognizing editors in its 14 competitive categories, organizers also said they hope the event will be “full of purpose, solidarity and recognition” in the memorandum of ACE members.
Hoy and Hirsch have created fruitful and lasting relationships with the characters of New Hollywood era Brian de Palma and George Lucas and Robert Altman, respectively. Born in New York City, Hirsch spent part of his childhood in Paris. He has edited more than 40 films, including De Palma (including “Brave” and “Carrie”, John Hughes (including “Ferris Billy’s Leave”) and Lucas’s first “Star Wars” film, for which he won the 1978 Oscar. Time ago, 2019 was in a distant cutting room.
After Hoy, from Vancouver, studied improvisational theater in San Francisco and returned to Vancouver, she set up the “Good War” of the improvisational company and became the art director. During this time, she was played by Altman’s “Mrs. McCabe and Mrs. Miller.” When the film parcel principal photographed, she went to Los Angeles to know only two people – a friend who provided her with a place to stay and Altman. Over the next eight years, she learned the art of filmmaking by doing it for his research, costumes and production design. She also performed in several of his films, then served as an apprentice editor in his film Buffalo Bill and The Indians, which sparked her lifelong passion for film editing.
Hoy continues to work on feature film projects, including the Sixth and Three Eights and Jazz Blues with director Tyler Perry, who is a board member of the Guild and Ace.
Cinemontage caught up with two respected editors as they reflected their achievements, favorite collaborations and suggestions for the next generation.
Movie: How did Paul, the way you grew up as a painter’s son and Maysie affect your improvisational theatre context – how did it affect your approach to film editing, especially with the founding of the New Hollywood movement?
Hirsch: As the son of a painter, I love and appreciate art. I studied music at Music & Arts High School in New York City. I played the blower in the high-end orchestra there. At Columbia University, I majored in art history, so I was definitely interested in the art career. I applied to Columbia School of Architecture and was accepted, but rethinked the whole thing when I realized that after another four years, I would only get a second bachelor’s degree.
It was 1966, and the new wave in the movie attracted my imagination. I decided to try to get into the movie business. I started from the bottom, as a gofer, by the age of 23, I was a micro-budget movie “Hi Mom!” 》Editor. Directed by Brian de Palma. My connection to New Hollywood was accidental because I was about the same age as the young directors who changed the industry. Through Brian, I met Lucas, Spielberg, Coppola and Scorsese, as well as little-known names like Larry Kasdan, Paul Schrader, Carrol Ballard and Michael Ritchie.
Hoy: The basis of improvisational theater is trust. Improvisation can help me in the moment. You can’t think about what happened yesterday or have supper later. It will affect your perception if you are not there. It also helps you get into the cutting room. I have taught improvisation classes at the Pan Pacific Asia Steering Committee guild because in our culture, as Asians, we grew up no Express our feelings and no Live in this moment.
This is very interesting. You can see people who are backing down and they realize, “I think I have to work hard to give up control.” I tell people that in this business, you can’t control it. Once you try to control it, that’s when you’re disappointed. You have to let it go, and that’s the purpose of life. I think spontaneity is a feeling of honesty, and that’s the feeling of honesty and authenticity we bring to our projects.
Movie: What achievements are you most proud of when you reflect on your outstanding career?
Hirsch: It is easy to ask for the most proud achievement to answer: the most successful achievement. They are the people they see the most and have the greatest impact on culture. “Star Wars” and “Mission: Impossible” affected the entire world.
Hoy: My proudest achievement is actually my kids and most importantly, because I am a working mother and have to raise two super cool human boys, which is difficult. I’m also very proud because they are all in business. But as far as projects are concerned, I would say “Happy Luck Club.” That’s the story in itself, and my relationship with director Wayne Wang is really special.
Cinemontage: How does your relationship/collaboration with directors (De Palma, Hughes, Lucas, Altman) and other editors help you the most when you browse all kinds of cut movies?
Hirsch: All of these directors respect me and work with me in the best sense. No matter what type, they welcome my participation. The editor is the individual who has the longest and closest working relationship with the director. It turns out that these movies are directed by people whose personality prevents them from listening to others.
Hoy: I have several mentors like Danny Greene (he died thereafter) – who cut off the “mashed potatoes” and “blazing saddle” – I was lucky enough to be his assistant. He gave me the confidence to edit. It’s definitely Altman. If I hadn’t seen him, I certainly wouldn’t have won the award, let alone talk to you, let alone come in Los Angeles. I think with Bob, I’ll ask him, “So Bob, what do you want when I cut this movie?” He’ll say, “Just find good stuff.” I think “good stuff” is right. This goes back to improvisation – I think there is a trust factor when you work with someone like this. These are the best collaborators. They sit down and listen to what you say.
Cinemontage: How do you describe the character of the image editor to someone who just appeared on the scene today?
Hirsch: I would describe it in the same way as anyone who asked: if the script is a recipe, the shooting is a collection of ingredients, and the editor is a chef who prepares the meal. In most cases, I found the editing very satisfactory. Being part of the team is a fun and watching the small steps and suggestions I make up is important for millions of people.
Hoy: I think for anyone who is where their career is, remember that the right time will come. And you have to be prepared for that moment. I really believe the picture found me, not the other way around.
This interview has been edited for length and clarity.
