Gerald B. Greenberg
| Jerry Greenberg | |
|---|---|
| Born |
Gerald B. Greenberg July 29, 1936 New York City |
| Occupation | Film editor |
Gerald B. "Jerry" Greenberg (born July 29, 1936) is an American film editor with more than 40 feature film credits. Greenberg received both the Academy Award for Film Editing and the BAFTA Award for Best Editing for the film The French Connection (1971). In the 1980s, he edited five films with director Brian De Palma.
Greenberg began his career as an assistant to Dede Allen on the film America America (1963). Allen has been called "the most important film editor in the most explosive era of American film". She helped develop the careers of several editors known as "Dede's boys", and Greenberg was the first.
Greenberg was Allen's assistant again on Bonnie and Clyde (1967), which was directed by Arthur Penn. The editing of the ambush scene in this film in which Bonnie and Clyde are killed has been very influential, and Allen credited Greenberg with its actual "cutting". Greenberg was the associate editor for Alice's Restaurant (1969), again directed by Penn and edited by Allen. By that time Greenberg's independent editing career had commenced with Bye Bye Braverman (1968), which was directed by Sidney Lumet. Greenberg later co-edited Penn's The Missouri Breaks (1976) with Allen and Stephen A. Rotter.
Greenberg has edited two films with director William Friedkin, The Boys in the Band (1970) and The French Connection (1971). The French Connection was particularly successful. It won the Academy Award for Best Picture and was quite profitable. Friedkin attributed much of the film's success to its editing, writing "I can't say too much about the importance of editing. When I looked at the first rough cut of the chase, it was terrible. It didn't play. It was formless, in spite of the fact that I had a very careful shooting plan that I followed in detail. It became a matter of removing a shot here or adding a shot there, or changing the sequence of shots, or dropping one frame, or adding one or two frames. And here's where I had enormous help from Jerry Greenberg, the editor. As I look back on it now, the shooting was easy. The cutting and the mixing were enormously difficult. It was all enormously rewarding."
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