About
"If you're a good storyteller, if you can get what the director wants on film, and get the continuity and the story and the flow and the timing, then you've done a good job."
In his three-and-a-half-hour interview, Arthur Schneider (1930-2009) reminisces about his early days in television, beginning as an assistant editor at NBC in Hollywood (and later NBC Burbank), where he quickly became a full-fledged editor. He talks about his experiences editing numerous Bob Hope comedy specials and Christmas specials from Vietnam, and the unique editing challenges on those projects. Schneider discusses his development of the groundbreaking editing style on NBC's Laugh-In, and the liberal use of jump cuts. He also recalls many of the editing techniques that were used in the early days of television and explains the various technologies that have changed the face of editing throughout the last half-century. Finally, he touches on the variety programs that he edited throughout the years, including projects with Sonny and Cher and Julie Andrews. Henry Colman conducted the interview in a joint venture with American Cinema Editors (ACE) on July 16, 2001 at Universal Studios in Universal City, CA.
Highlights
Arthur Schneider on editing The Colgate Comedy Hour
Arthur Schneider on the use of jumpcuts on Rowan & Martin's Laugh-In, and on editing comedy
Arthur Schneider on getting his nickname "Jump Cut" while working on the Bob Hope Specials
Arthur Schneider on his first job at NBC, starting in 1951 as a television engineer, and on learning how to edit
Arthur Schneider on editing with a laugh track
Arthur Schneider on how he would like to be remembered
Full Interview
Chapter 1
On his early life and influences; on movies he enjoyed growing up; on moving to Los Angeles and attending USC, and on the first time he saw television
On his first job at NBC, starting in 1951 as a television engineer, and on learning how to edit; on the kinescope, and how it was used for television, and his other responsibilities at NBC
On editing The Colgate Comedy Hour; on editing The Dinah Shore Chevy Show, and This Is Your Life
Chapter 2
On editing Milton Berle's Texaco Star Theater, The Perry Como Show, and Your Show of Shows; on how the transcontinental cable impacted television broadcasting in the United States, and on NBC moving to Burbank in 1954; on the advent of video tape and its impact on television
On editing on video tape, and on working for the NBC promotions department editing trailers; on his experience with the Hollywood Blacklist, and on NBC's colorblind test; on editing The Bob Hope Specials
Chapter 3
On working with Bob Hope as editor of the Bob Hope Specials; on getting his nickname "Jump Cut" while working on the Bob Hope Specials ; on the production and editing process for the Bob Hope Specials
On the craft of editing for television; on editing on 16 millimeter film and other formats, and on workprints; on the double system method of editing, and on off-line editing and dealing with deadlines
Chapter 4
On missing an editing deadline; on editing with a laugh track, and on video head incompatibility; on the responsibilities of the video tape opreator
On working on NBC Matinee Theater; on editing color videotape; on the various kinds of videotape editing technology he used
On how digital technology has changed editing for television; on editing for the 1964 Democratic National Convention
Chapter 5
On editing for The Huntley-Brinkley Report; on his role in creating the instant replay; on editing for The Julie Andrews Show, with guest-star Gene Kelly
On editing a special for Danny Thomas; on editing for The Dean Martin Show; on editing for ABC Stage 67
On editing for Rowan & Martin's Laugh-In, produced by George Schlatter
Chapter 6
On the use of jumpcuts on Rowan & Martin's Laugh-In, and on editing comedy; on the production of Rowan & Martin's Laugh-In; on the cast of Rowan & Martin's Laugh-In
On editing the notorious flop Turn-On; on editing the Sonny & Cher Comedy Hour; on editing Tony Orlando & Dawn, Maude, and the roast segments of The Dean Martin Show
Chapter 7
On editing The New Mickey Mouse Club; on various editing systems he has used, and on meeting Stanley Kubrick; Candid Camera, Norm Crosby's The Comedy Shop, and The Greatest American Hero
On testing various editing systems; on editing his final Bob Hope Special, and on those being his favorites; on advice to an aspiring editor
On the then-current state of television editing, and on how computers have changed the quality of editing; on career highlights and regrets; on how he would like to be remembered