George Watters

Editor


The Academy of Television Arts & Sciences Foundation Presents

02:26

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About
About this interview

In his two-hour Archive interview, George Watters talks about his World War II duty and his first entertainment business job, which was at Technicolor in Los Angeles. He describes in detail his duties and promotions at Technicolor, his first editor's job and the craft of editing with a Moviola machine. He discusses working as an editor on series such as Rawhide, Bonanza, Little House on the Prairie, Have Gun, Will Travel and Voyage to the Bottom of the Sea. Watters recalls his position as Director of Post Production Services at Paramount Studios where he oversaw the post production of the series Mork & Mindy, The Bad News Bears, Taxi, Happy Days, and Laverne & Shirley, as well as the mini-series Shogun. Michael Rosen conducted the interview on July 17, 2001 in a joint venture with American Cinema Editors (ACE) in Universal City, CA.

"Most people don't have the patience to be an editor. You have to sit down and get so involved, so interested in your work. But I don't think there is anything that I could have ever done that I enjoyed more thoroughly."

Interviewee(s)
Highlights
George Watters on his first job as an editor on Rawhide, starring Clint Eastwood and the challenges of editing a western
George Watters on working on "Touch of Evil" for Orson Welles
George Watters on an editing room in the '50s
George Watters on being Director of Television Post Production for Paramount Television
George Watters on the key traits a person needs to be a successful editor
Full Interview

Chapter 1

On his early life and influences; on working for Technicolor
On becoming a negative cutter; on his first job as an assistant editor at Universal; on working on "Touch of Evil" for Orson Welles

Chapter 2

On doing the optics for Orson Welles' "Touch of Evil"; on the first time he saw television; on his duties as assistant editor at Universal Television
On working with directors as an assistant editor at Universal; on working with directors as an assistant editor at Universal; on an editing room in the '50s
On working with Frank Pierson and William Self; on editing Rawhide; on his mentor, Roland Gross

Chapter 3

On editing Gomer Pyle, U.S.M.C., produced by Sheldon Leonard; on the differences between editing comedy and editing drama; on his first job as an editor on Rawhide, starring Clint Eastwood and the challenges of editing a western
On assistant editing the feature "Spartacus" for Stanley Kubrick; on editing Voyage to the Bottom of the Sea for Irwin Allen

Chapter 4

On editing The High Chapparal and Bonanza for producer David Dortort; on editing Little House on the Prairie for Michael Landon
On being Director of Television Post Production for Paramount Television; on the format of the shows at Paramount Television when he was there and the editing equipment used; on editing "Enter the Dragon"

Chapter 5

On advice to aspiring editors; on the key traits a person needs to be a successful editor
Shows

Gomer Pyle - USMC

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George Watters on editing Gomer Pyle, U.S.M.C., produced by Sheldon Leonard

Have Gun - Will Travel

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George Watters on editing Have Gun, Will Travel and working with director Buzz Kulik

High Chaparral, The

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George Watters on editing The High Chapparal and Bonanza for producer David Dortort

Little House on the Prairie

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George Watters on editing Little House on the Prairie for Michael Landon

Rawhide

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George Watters on editing Rawhide
George Watters on his first job as an editor, Rawhide starring Clint Eastwood and the challenges of editing a western

Voyage to the Bottom of the Sea

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George Watters on editing Voyage to the Bottom of the Sea for Irwin Allen
Topics

Advice

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George Watters on advice to aspiring editors

Creative Influences and Inspiration

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George Watters on his mentor, Roland Gross

Television Industry

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George Watters on advice to aspiring editors
Professions

Editor

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George Watters on working with directors as an assistant editor at Universal
George Watters on an editing room in the '50s
George Watters on the differences between editing comedy and editing drama
George Watters on working with various producers at Paramount Television as Director of Post Production
George Watters on the format of the shows at Paramount Television when he was there and the editing equipment used
George Watters on advice to aspiring editors
George Watters on the key traits a person needs to be a successful editor

Post-Production Professionals

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George Watters on working with directors as an assistant editor at Universal
George Watters on an editing room in the '50s
George Watters on the differences between editing comedy and editing drama
George Watters on working with various producers at Paramount Television as Director of Post Production
George Watters on the format of the shows at Paramount Television when he was there and the editing equipment used
George Watters on advice to aspiring editors
George Watters on the key traits a person needs to be a successful editor
Genres

Adventure/Espionage Series

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George Watters on editing Voyage to the Bottom of the Sea for Irwin Allen

Comedy Series

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George Watters on editing Gomer Pyle, U.S.M.C., produced by Sheldon Leonard

Drama Series

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George Watters on editing Little House on the Prairie for Michael Landon

Western Series

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George Watters on working with Frank Pierson on Have Gun, Will Travel
George Watters on editing Rawhide
George Watters on his first job as an editor on Rawhide, starring Clint Eastwood and the challenges of editing a western
George Watters on editing The High Chapparal and Bonanza for producer David Dortort
People

Irwin Allen

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George Watters on editing Voyage to the Bottom of the Sea for Irwin Allen

David Dortort

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George Watters on editing The High Chapparal and Bonanza for producer David Dortort

Clint Eastwood

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George Watters on his first job as an editor on Rawhide, starring Clint Eastwood and the challenges of editing a western

Stanley Kubrick

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George Watters on assistant editing the feature "Spartacus" for Stanley Kubrick

Sheldon Leonard

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George Watters on editing Gomer Pyle, U.S.M.C., produced by Sheldon Leonard

Frank Pierson

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George Watters on working with Frank Pierson on Have Gun, Will Travel

William Self

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George Watters on working with producer William Self

Orson Welles

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George Watters on working on "Touch of Evil" for Orson Welles

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