Doane Harrison

Doane Harrison (September 19, 1894 – November 11, 1968) was an American film editor whose career spanned four decades. For nearly twenty years, from 1935–54, he was a prolific editor of films for Paramount Pictures, including eleven films with director Mitchell Leisen. For twenty-five years, from 1941–1966, Harrison was editor, editorial supervisor or associate producer on all the films directed by Billy Wilder,^[1] who is now considered one of the great 20th-century filmmakers.^[2]

Early career

Born in Paw Paw, Michigan, Harrison began his career during the silent film era. The earliest phase of his career and his education don't appear to have been documented. In 1925–1926, he was credited as the editor for nine films starring Richard Talmadge, and produced by Richard Talmadge Productions.^[3]

By 1928, he was editing films produced by Pathé Exchange. In 1933 he edited his eleventh (and last) film starring Richard Talmadge, On Your Guard. By 1935, Harrison had joined Paramount Pictures, one of the major Hollywood studios. Harrison remained at Paramount for more than eighteen years. His first film there was Four Hours to Kill! (1935), which was directed by Mitchell Leisen; at Pathé Exchange, Leisen had been the art director and Harrison the editor on three films. Their notable director-editor collaboration ultimately stretched over twenty-three years and eleven films, including Hold Back the Dawn (1941), which received six Academy Award nominations, Easy Living (1937), Midnight (1939), and Remember the Night (1940).

Collaboration with Billy Wilder

لعلّ هاريسون يُذكر على الأرجح لعلاقته الطويلة مع بيلي وايلدر . ففي ثلاثينيات القرن العشرين، عندما هاجر وايلدر إلى الولايات المتحدة، وجد عملاً ككاتب سيناريو في شركة باراماونت، حيث كان هاريسون يعمل أيضاً كمحرر. عمل وايلدر وهاريسون معاً في فيلم "منتصف الليل " عام ١٩٣٩، ثم في فيلم " أمسك الفجر" عام ١٩٤١. وبحلول عام ١٩٤٢، أقنع وايلدر إدارة باراماونت بتكليفه بإخراج الفيلم الكوميدي " الرائد والصغير" ؛ وكان وايلدر قد أخرج سابقاً فيلماً واحداً فقط في فرنسا. طلب وايلدر أن يُعيّن هاريسون محرراً للفيلم. وقد نُقل عن وايلدر قوله عن هذه المهمة المبكرة: "عملتُ مع محرر بارع، دوان هاريسون، الذي تعلمتُ منه الكثير. لقد كان عوناً لي أكثر بكثير من المصور السينمائي. عندما انتقلتُ من الكتابة إلى الإخراج، كانت معرفتي التقنية ضئيلة للغاية". ^{[ 4 ]} وصف سام ستاغ تعاونهما المبكر قائلاً: "في دروس مبكرة قيّمة، علّم هاريسون وايلدر كيفية التخطيط المسبق لكل لقطة كجزء من خطة مونتاج شاملة. وكانت النتيجة: توفير الوقت والمال، وتقليل الحاجة إلى لقطات الحماية. (يشير مصطلح "لقطة الحماية"، أو التغطية، إلى اللقطات المصورة من زوايا وإعدادات مختلفة والتي قد تكون ضرورية لمونتاج مشهد في غرفة المونتاج)." ^{[ 4 ]}

حقق فيلم "الرائد والصغير" نجاحًا كبيرًا، وكان بمثابة انطلاقة لمسيرة وايلدر الإخراجية. عمل هاريسون في جميع الأفلام التي أخرجها وايلدر على مدى السنوات الخمس والعشرين التالية، حتى فيلم "كعكة الحظ " (1966)؛ وقد تضمن تعاونهما الوثيق بشكل استثنائي مشاركة هاريسون في التصوير بالإضافة إلى المونتاج. ^{[ 5 ]}

نُسبت إلى هاريسون مهمة الإشراف التحريري على العديد من الأفلام التي أخرجها وايلدر، وصولاً إلى فيلم " سانسيت بوليفارد " (1950). كما نُسبت إليه مهمة "المستشار التحريري" في فيلم " سابرينا " (1954)، الذي كان آخر فيلم يجمع وايلدر وهاريسون في باراماونت. ^{[ 6 ]} بعد مغادرته باراماونت، عمل هاريسون كمنتج مشارك في ثمانية أفلام، وكمنتج مشارك في فيلمين من أفلام وايلدر، بدءًا من فيلم " حكة السنوات السبع " (1955) وصولاً إلى فيلم "كعكة الحظ" (1966).

التخفيضات النهائية

Harrison's and Wilder's notable director-editor collaboration (as editor, editorial supervisor or advisor) had extended over ten films, from The Major and the Minor (1942) through Sabrina (1954).^[1] While he was working with Wilder, Harrison also edited more films by other directors; his final editing credit, for The Girl Most Likely (1958), was a reunion with director Mitchell Leisen. He acted as a consultant to Mike Nichols on Who's Afraid of Virginia Woolf? (1966), which was the first film Nichols directed.^[7]

Harrison was nominated three times for the Academy Award for Best Film Editing for three films directed by Wilder: Five Graves to Cairo (1943), The Lost Weekend (1945), and Sunset Boulevard (with Arthur P. Schmidt, 1950).^[8] Harrison died in 1968 in Riverside, California, aged 74.

Selected filmography

Editor
Year	Film	Director	Notes	Other notes
1923	A Prince of a King	Albert Austin
1925	Youth and Adventure	James W. Horne
	Jimmie's Millions	James P. Hogan
	The Fighting Demon	Arthur Rosson
	The Mysterious Stranger	Jack Nelson	First collaboration with Jack Nelson
	A Gentleman Roughneck	Grover Jones
	The Prince of Pep	Jack Nelson	Second collaboration with Jack Nelson
1926	The Blue Streak	Noel M. Smith	First collaboration with Noel M. Smith
	The Night Patrol		Second collaboration with Noel M. Smith
	The Broadway Gallant		Third collaboration with Noel M. Smith
	The Better Man	Scott R. Dunlap	First collaboration with Scott R. Dunlap
	Doubling with Danger	Scott R. Dunlap	Second collaboration with Scott R. Dunlap
1928	Power	Howard Higgin	First collaboration with Howard Higgin
	Man-Made Women	Paul L. Stein	First collaboration with Paul L. Stein
	Celebrity	Tay Garnett	First collaboration with Tay Garnett
	Show Folks	Paul L. Stein	Second collaboration with Paul L. Stein
	The Cavalier	Irvin Willat
	The Shady Lady	Edward H. Griffith
	The Spieler	Tay Garnett	Second collaboration with Tay Garnett
1929	The Leatherneck	Howard Higgin	Second collaboration with Howard Higgin
	The Office Scandal	Paul L. Stein	Third collaboration with Paul L. Stein
	High Voltage	Howard Higgin	Third collaboration with Howard Higgin
	The Sophomore	Leo McCarey
	Big News	Gregory La Cava	First collaboration with Gregory La Cava
	The Racketeer	Howard Higgin	Fourth collaboration with Howard Higgin	Uncredited
	This Thing Called Love	Paul L. Stein	Fourth collaboration with Paul L. Stein
	His First Command	Gregory La Cava	Second collaboration with Gregory La Cava
1930	Her Man	Tay Garnett	Third collaboration with Tay Garnett	Uncredited
1932	Speed Madness	George Crone	First collaboration with George Crone
1932	The Crooked Circle	H. Bruce Humberstone
1933	On Your Guard	George Crone	Second collaboration with George Crone
	The Sphinx	Phil Rosen	First collaboration with Phil Rosen
	The Avenger	Edwin L. Marin
	Devil's Mate	Phil Rosen	Second collaboration with Phil Rosen
1935	Four Hours to Kill!	Mitchell Leisen	First collaboration with Mitchell Leisen	Uncredited
	Annapolis Farewell	Alexander Hall
	Collegiate	Ralph Murphy
1936	13 Hours by Air	Mitchell Leisen	Second collaboration with Mitchell Leisen
	The Texas Rangers	King Vidor
	Let's Make a Million	Ray McCarey
1937	Internes Can't Take Money	Alfred Santell	First collaboration with Alfred Santell
	Easy Living	Mitchell Leisen	Third collaboration with Mitchell Leisen
	Thrill of a Lifetime	George Archainbaud
1938	Stolen Heaven	Andrew L. Stone
1938	Artists and Models Abroad	Mitchell Leisen	Fourth collaboration with Mitchell Leisen
1939	Midnight	Mitchell Leisen	Fifth collaboration with Mitchell Leisen
	The Night of Nights	Lewis Milestone
	Remember the Night	Mitchell Leisen	Sixth collaboration with Mitchell Leisen
1940	Golden Gloves	Edward Dmytryk
	Arise, My Love	Mitchell Leisen	Seventh collaboration with Mitchell Leisen
	Dancing on a Dime	Joseph Santley
1941	Hold Back the Dawn	Mitchell Leisen	Eighth collaboration with Mitchell Leisen
1941	New York Town	Charles Vidor	First collaboration with Charles Vidor
1942	Take a Letter, Darling	Mitchell Leisen	Ninth collaboration with Mitchell Leisen
	Beyond the Blue Horizon	Alfred Santell	Second collaboration with Alfred Santell
	The Major and the Minor	Billy Wilder	First collaboration with Billy Wilder
1943	The Crystal Ball	Elliott Nugent	First collaboration with Elliott Nugent
1943	Five Graves to Cairo	Billy Wilder	Second collaboration with Billy Wilder
1944	The Uninvited	Lewis Allen	First collaboration with Lewis Allen
1944	Practically Yours	Mitchell Leisen	Tenth collaboration with Mitchell Leisen
1946	Our Hearts Were Growing Up	William D. Russell	First collaboration with William D. Russell
1947	Ladies' Man	William D. Russell	Second collaboration with William D. Russell
1948	A Foreign Affair	Billy Wilder	Sixth collaboration with Billy Wilder
1948	Miss Tatlock's Millions	Richard Haydn	First collaboration with Richard Haydn
1951	Ace in the Hole	Billy Wilder	Eighth collaboration with Billy Wilder
1952	Just for You	Elliott Nugent	Second collaboration with Elliott Nugent
1956	Tension at Table Rock	Charles Marquis Warren
1957	China Gate	Samuel Fuller
1957	The Girl Most Likely	Mitchell Leisen	Eleventh collaboration with Mitchell Leisen

Editorial department
Year	Film	Director	Role	Notes
1944	Double Indemnity	Billy Wilder	Editorial supervisor	Third collaboration with Billy Wilder
1945	The Unseen	Lewis Allen	Supervising editor	Second collaboration with Lewis Allen
1945	The Lost Weekend	Billy Wilder	Editorial supervisor	Fourth collaboration with Billy Wilder
1948	The Emperor Waltz	Billy Wilder		Fifth collaboration with Billy Wilder
1949	Dear Wife	Richard Haydn		Second collaboration with Richard Haydn
1950	Sunset Boulevard	Billy Wilder		Seventh collaboration with Billy Wilder
	Branded	Rudolph Maté		First collaboration with Rudolph Maté
	Mr. Music	Richard Haydn	Supervising editor	Third collaboration with Richard Haydn
1951	When Worlds Collide	Rudolph Maté	Editorial supervisor	Second collaboration with Rudolph Maté
1951	Thunder in the East	Charles Vidor	Editorial supervisor	Second collaboration with Charles Vidor
1952	Somebody Loves Me	Irving Brecher	Editorial consultant
1953	The Girls of Pleasure Island	Alvin Ganzer F. Hugh Herbert	Editorial advisor
	Stalag 17	Billy Wilder		Ninth collaboration with Billy Wilder
	Forever Female	Irving Rapper
1954	Sabrina	Billy Wilder		Tenth collaboration with Billy Wilder

Additional crew
Year	Film	Director	Role	Notes
1957	The Spirit of St. Louis	Billy Wilder	Production associate	Twelfth collaboration with Billy Wilder
1957	Witness for the Prosecution	Billy Wilder	Production associate	Fourteenth collaboration with Billy Wilder
1959	The Jayhawkers!	Melvin Frank	Assistant to producers
1962	Convicts 4	Millard Kaufman	Assistant to producer
1963	My Six Loves	Gower Champion	Production associate
1966	Who's Afraid of Virginia Woolf?	Mike Nichols	Production advisor

Producer
Year	Film	Director	Credit	Notes
1955	The Seven Year Itch	Billy Wilder	Associate producer	Eleventh collaboration with Billy Wilder
1957	Love in the Afternoon			Thirteenth collaboration with Billy Wilder
1959	Some Like It Hot			Fifteenth collaboration with Billy Wilder
1960	The Apartment			Sixteenth collaboration with Billy Wilder
1961	One, Two, Three			Seventeenth collaboration with Billy Wilder
1963	My Six Loves	Gower Champion
1963	Irma la Douce	Billy Wilder		Eighteenth collaboration with Billy Wilder
1964	Kiss Me, Stupid			Nineteenth collaboration with Billy Wilder
1966	The Fortune Cookie			Twentieth collaboration with Billy Wilder

Documentaries

Editor
Year	Film	Director
1953	The Sea Around Us	Irwin Allen

References

1 2"AFI|Catalog".
↑Harmetz, Aljean (March 29, 2002). "Billy Wilder, Master of Caustic Films, Dies at 95". The New York Times.
↑See Doane Harrison filmography at IMDb.
1 2Stagg, Sam (2003). Close-up on Sunset Boulevard: Billy Wilder, Norma Desmond, and the Dark Hollywood Dream. MacMillan. p. 146. ISBN 978-0-312-30254-2.
↑Wilder, Billy; Lemon, Richard (2001). "The Message in Billy Wilder's Fortune Cookie: "Well, Nobody's Perfect..."". In Horton, Robert (ed.). Billy Wilder: interviews. University Press of Mississippi. p. 53. ISBN 978-1-57806-444-1. The filming of Wilder's movies is always relaxed but efficient, and many of his crew members are veterans of other Wilder movies. Doane Harrison, his film editor, has worked for him for more than 25 years and, unlike most film editors, is always there during filming to advise Wilder and reduce the excess footage. Lemon's 1966 interview and article was reprinted in this 2001 volume.
↑Phillips, Gene D. (2010). Some Like It Wilder: The Life and Controversial Films of Billy Wilder. University Press of Kentucky. p. 184. ISBN 978-0-8131-2570-1.
↑Sylbert, Richard; Townsend, Sylvia (2006). Designing Movies: Portrait of a Hollywood Artist. Greenwood Publishing Group. p. 84. ISBN 978-0-275-98690-2. Mike Nichols had hired Doane Harrison, who was Billy Wilder's supervising editor, to help him with the dos and don'ts of staging for the camera.
↑Academy Awards archives

External links

Doane Harrison at IMDb

[AFI_Catalog-1] 1 2"AFI|Catalog".

[2] Harmetz, Aljean (March 29, 2002). "Billy Wilder, Master of Caustic Films, Dies at 95". The New York Times.

[IMDb-3] See Doane Harrison filmography at IMDb.

[Stagg-4] 1 2Stagg, Sam (2003). Close-up on Sunset Boulevard: Billy Wilder, Norma Desmond, and the Dark Hollywood Dream. MacMillan. p. 146. ISBN 978-0-312-30254-2.

[5] Wilder, Billy; Lemon, Richard (2001). "The Message in Billy Wilder's Fortune Cookie: "Well, Nobody's Perfect..."". In Horton, Robert (ed.). Billy Wilder: interviews. University Press of Mississippi. p. 53. ISBN 978-1-57806-444-1. The filming of Wilder's movies is always relaxed but efficient, and many of his crew members are veterans of other Wilder movies. Doane Harrison, his film editor, has worked for him for more than 25 years and, unlike most film editors, is always there during filming to advise Wilder and reduce the excess footage. Lemon's 1966 interview and article was reprinted in this 2001 volume.

[Phillips-6] Phillips, Gene D. (2010). Some Like It Wilder: The Life and Controversial Films of Billy Wilder. University Press of Kentucky. p. 184. ISBN 978-0-8131-2570-1.

[7] Sylbert, Richard; Townsend, Sylvia (2006). Designing Movies: Portrait of a Hollywood Artist. Greenwood Publishing Group. p. 84. ISBN 978-0-275-98690-2. Mike Nichols had hired Doane Harrison, who was Billy Wilder's supervising editor, to help him with the dos and don'ts of staging for the camera.

[8] Academy Awards archives

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