30:
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Fehr was Head of Post-production at Warner Bros. until his own retirement in 1976; he had worked for the studio for forty years, and reached its mandatory retirement age of 65. The studio then hired Fehr back, and he went to Europe to supervise foreign-language adaptations of Warner Bros. films in
480:) were produced simultaneously; Fehr was also credited as co-editor for the latter. Phillis Fehr is sometimes credited for editing this film, but this appears to be mistaken. She edited no other films, and Rudi Fehr indicated in interviews that he was the co-editor.
702:. Hitchcock, Vince Sherman, King Vidor, Mike Curtiz never came to the cutting room. Lloyd Bacon never looked at the rushes. Raoul Walsh never looked at any cut. He saw the picture at the preview, came up to you, patted you on the back and said 'Good job, boy'.
278:. Garfield had to be carefully filmed and edited as he couldn't play a note. He kept his arms behind his back in close-ups while a member of the studio orchestra perched on each side of him, their hands coming into frame to do the fingering and bowing."
856:
enormous record collection , consisting of ca. 10,000 33 1/3 rpm and ca. 12,000 78 rpm records. Ca. one third of the collection consists of jazz recordings, the remainder being divided among classical, shows, film scores, vocals, nostaliga, and
764:
430:
by the president of West
Germany, which acknowledged Fehr's work in establishing the sister city relationship of West Berlin and Los Angeles. In 1986, he was a member of the jury at the
120:, A.C.E. (July 6, 1911 – April 16, 1999) was a German-born, American film editor and studio executive. He had more than thirty credits as an editor of feature films including
1030:
209:
film studio in
Hollywood, where he initially worked to substitute English sound tracks on two films for the original German ones. He soon became an assistant editor to
488:(Bernhardt-1933). French and German language versions were filmed at the same time. Fehr is credited as the editor only for the French version, although apparently
648:
Es wird im Leben dir mehr genommen als gegeben ...' Lexikon der aus
Deutschland und Ă–sterreich emigrierten Filmschaffenden 1933 bis 1945: Eine Gesamt Ăśberbersicht
1035:
166:
Fehr was born in Berlin, Germany. He aspired to become a diplomat or a musician, but was recruited into the film industry, and edited his first film,
427:
284:, the co-founder of the Warner Brothers film studio, had briefly assigned Fehr to production duties in 1952. Fehr then edited two films directed by
450:
370:
During his long residence in
California, Fehr amassed a collection of thousands of music recordings. Selections from his collection were used by
961:
A transcript of an unpublished oral history is in the collection of the
Margaret Herrick Library, but is not available for online access. See
698:
I'm a very lucky man. I never in my entire career had a director in the cutting room - never. Huston never came to the cutting room on
431:
304:(1954), Warner appointed Fehr as the Head of Post-production including the editing department. Hitchcock made his next films for
494:
344:
176:
727:
484:
530:-1943). Shumlin, who had directed the play, was new to filmmaking, and Fehr was on the set to guide the camera placements.
414:
254:
In his obituary, Allen Eyles notes two 1946 films as representative of Fehr's work, "Many of his films were routine, but
901:
498:, largely followed Fehr's editing. Fehr's first Hollywood editing credit was with the same director, Curtis Bernhardt.
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of West Berlin; the connection continued after the 1989 reunification of
Germany and of East and West Berlin.
1025:
841:
Guide to the
Archival Materials of the German-speaking Emigration to the United States after 1933, Volume 2
610:
435:
364:
147:
790:
556:
827:[40 years of the Berlin - Los Angeles city partnership - 1967 - 2007] (in German). Berlin.de.
256:
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219:(1940); the film was directed by Curtis Bernhardt, who had worked with Fehr seven years earlier on
446:
190:
266:
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in
Germany and moved to United States, travelling first class in April 1936 on the steamship,
737:
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1005:
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8:
170:, in 1931; he was just 20 years old. He then worked for several years with the producer
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336:
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174:, including work in Austria and England. In 1933 he edited the French language film
316:
France, Germany, Italy and Spain. In 1980, Fehr became Head of Post-production for
290:
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234:
181:
122:
809:
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244:
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playing the dual role of two sisters, initially on screen at the same time, and
527:
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442:, again recognizing his work on establishing the city partnership with Berlin.
359:
Fehr was the co-founder (with fellow refugee Ernest Herman) of the Los
Angeles-
281:
887:
999:
489:
387:
Fehr became an
American citizen in February, 1941. He was married to actress
271:
248:
185:
886:. Berkeley Art Museum - Pacific Film Archive. April 26, 1979. Archived from
967:(Report). Academy of Motion Picture Arts and Sciences, Oral History Program
388:
223:. For the next fifteen years Fehr edited dozens of studio films, including
198:
98:
330:(1982); it was his first editing credit since 1954. In 1985, he co-edited
507:
461:
The director and release year of each film are indicated in parentheses.
398:
360:
331:
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171:
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from 1955 through 1976. Fehr was instrumental in establishing the 1967 "
986:
210:
474:-1933). Produced by Sam Spiegel. A German and a French language film (
410:
109:
312:
became Hitchcock's principal editor in an important collaboration.
825:"40 Jahre Städtepartnerschaft Berlin - Los Angeles - 1967 - 2007"
397:(1941). They had three daughters. Fehr died of a heart attack in
384:
is nothing more, or less, than one rare Fehr disc after another.
380:(1973); one curator wrote that "the soundtrack for Bogdanovich's
324:'s production company. In 1981, Fehr was co-editor for Coppola's
739:
Britain's Forgotten Film Factory: The Story of Isleworth Studios
734:
Fehr is not credited there, but his editing work is detailed in
449:
shortly after its founding in 1950, and in 1993 he received the
705:
The interview concludes with Fehr's advice to aspiring editors.
155:
29:
965:
An oral history with Rudi Fehr / interviewed by Douglas Bell
363:
Sister City Committee. In 1967 Los Angeles became the first
1031:
Jewish emigrants from Nazi Germany to the United States
929:(1954) included the honorific designation "A.C.E"; see
374:
to provide authentic music from the 1930s for the film
492:, the editor credited for the German language version
213:. His first Hollywood editing credit was for the film
714:
Daniel Birt is listed as the editor for this film at
343:
Fehr taught film editing and post-production at the
138:(1985). He worked for more than forty years for the
791:"Obituaries: Rudi Fehr; Film Editor on 'Key Largo'"
391:, whom he had met while they were both working on
997:
934:Alfred Hitchcock: A Filmography and Bibliography
837:
451:American Cinema Editors Career Achievement Award
937:. University of California Press. p. 251.
884:"A Tribute to Rudi Fehr - Rudi Fehr in Person!"
838:Spalek, John M.; Hawrylchak, Sandra H. (1992).
409:Fehr, along with his co-editor (and daughter)
571:
569:
567:
565:
401:in 1999; Wrixon died less than a year later.
742:. Amberley Publishing Limited. p. 86.
354:
229:(directed by Curtis Bernhardt and starring
1036:Recipients of the Order of Merit of Berlin
822:
766:First Cut: Conversations with Film Editors
673:
671:
669:
667:
608:
562:
445:Fehr had been selected as a member of the
184:. In 1935 he worked on the editing of the
28:
894:
637:
635:
633:
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604:
602:
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962:
677:
197:In 1936, Fehr, who was Jewish, fled the
807:
684:Selected Takes: Film Editors on Editing
664:
641:
456:
434:. Fehr served as a board member of the
432:36th Berlin International Film Festival
274:as an outstanding violinist, dubbed by
998:
801:
783:
762:
735:
715:
628:
597:
345:University of California - Los Angeles
142:film studio, where he was the Head of
930:
719:Keaton: The Man Who Wouldn't Lie Down
575:
808:Rollins, Robert (August 22, 2010).
415:Academy Award for Best Film Editing
260:(1946) had the visual intricacy of
13:
963:Fehr, Rudi; Bell, Douglas (1998).
955:
844:. Walter de Gruyter. p. 145.
340:, which was his last film credit.
161:
158:, which he had fled in the 1930s.
14:
1052:
980:
763:Oldham, Gabriella (August 1992).
609:Pesselnick, Jill (May 12, 1999).
349:California Institute of the Arts
919:
876:
862:
831:
816:
756:
708:
576:Eyles, Allen (June 16, 1999).
549:
426:In 1983, Fehr was awarded the
1:
555:Fehr's birthdate is from the
542:
722:. Hal Leonard. p. 297.
650:(in German). ACABUS Verlag.
438:. In 1990 Fehr received the
436:Motion Picture Editors Guild
7:
557:Social Security Death Index
82:Film editor & executive
10:
1057:
823:Beiersdorf, Doris (2007).
678:LoBrutto, Vincent (1991).
931:Sloan, Jane, ed. (1995).
413:, were nominated for the
404:
205:. He landed a job at the
105:
94:
86:
78:
62:
39:
27:
20:
902:"Berlinale: 1986 Juries"
686:. ABC-CLIO. p. 33.
440:Order of Merit of Berlin
355:Beyond the film industry
180:, which was directed by
1041:Film people from Berlin
1016:American Ashkenazi Jews
873:opening screen credits.
810:"Remembering Rudi Fehr"
447:American Cinema Editors
73:Los Angeles, California
34:Rudi Fehr with his wife
477:Les requins du pétrole
270:(also 1946) presented
1021:German Ashkenazi Jews
890:on September 2, 2013.
795:The Los Angeles Times
642:Weniger, Kay (2011).
578:"Obituary: Rudi Fehr"
150:" connection between
44:Rudolf Alexander Fehr
716:Dardis, Tom (1996).
457:Selected filmography
428:Grand Medal of Merit
322:Francis Ford Coppola
1026:German film editors
736:Harris, Ed (2013).
503:Honeymoon for Three
394:Million Dollar Baby
925:Fehr's credit for
523:Watch on the Rhine
467:Unsichtbare Gegner
327:One from the Heart
306:Paramount Pictures
300:(1954). Following
247:, and introducing
118:Rudolf "Rudi" Fehr
927:Dial M for Murder
797:. April 20, 1999.
729:978-0-87910-117-6
538:(Hitchcock-1954).
535:Dial M for Murder
515:Desperate Journey
372:Peter Bogdanovich
318:American Zoetrope
302:Dial M for Murder
297:Dial M for Murder
216:My Love Came Back
129:Dial M for Murder
115:
114:
87:Years active
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286:Alfred Hitchcock
182:Curtis Bernhardt
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583:The Independent
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310:George Tomasini
245:Humphrey Bogart
207:Warner Brothers
164:
162:Life and career
144:Post-production
140:Warner Brothers
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57:Berlin, Germany
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981:External links
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351:in the 1990s.
337:Prizzi's Honor
282:Jack L. Warner
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135:Prizzi's Honor
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272:John Garfield
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257:A Stolen Life
252:
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249:Lauren Bacall
246:
242:
239:(directed by
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226:A Stolen Life
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186:Buster Keaton
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168:Der Schlemihl
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969:. Retrieved
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909:. Retrieved
906:berlinale.de
905:
896:
888:the original
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618:. Retrieved
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587:. Retrieved
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493:
483:
475:
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444:
425:
418:
408:
392:
389:Maris Wrixon
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342:
335:
325:
320:, which was
314:
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233:, 1946) and
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133:
132:(1954), and
127:
121:
117:
116:
99:Maris Wrixon
68:(1999-04-16)
54:July 6, 1911
15:
1011:1999 deaths
1006:1911 births
971:October 28,
911:January 14,
680:"Rudi Fehr"
644:"Rudi Fehr"
611:"Rudi Fehr"
399:Los Angeles
365:sister city
361:West Berlin
347:and at the
332:John Huston
294:(1953) and
276:Isaac Stern
262:Bette Davis
243:, starring
241:John Huston
231:Bette Davis
199:Nazi regime
191:The Invader
172:Sam Spiegel
152:Los Angeles
148:sister city
101:(1940–1999)
1000:Categories
870:Paper Moon
620:January 8,
589:January 8,
543:References
495:Der Tunnel
382:Paper Moon
377:Paper Moon
267:Humoresque
211:Warren Low
203:Washington
79:Occupation
50:1911-07-06
987:Rudi Fehr
485:Le Tunnel
411:Kaja Fehr
291:I Confess
251:, 1948).
236:Key Largo
221:Le Tunnel
177:Le Tunnel
123:Key Largo
110:Kaja Fehr
90:1931–1985
22:Rudi Fehr
857:foreign.
472:Katscher
423:(1985).
308:, where
126:(1946),
106:Children
615:Variety
528:Shumlin
941:
848:
773:
746:
726:
690:
654:
518:(1942)
510:-1941)
405:Honors
156:Berlin
95:Spouse
508:Bacon
188:film
991:IMDb
973:2015
939:ISBN
913:2011
846:ISBN
771:ISBN
744:ISBN
724:ISBN
688:ISBN
652:ISBN
622:2011
591:2011
417:for
154:and
63:Died
40:Born
989:at
334:'s
1002::
904:.
854:.
793:.
769:.
696:.
682:.
666:^
646:.
630:^
613:.
599:^
580:.
564:^
453:.
288:,
194:.
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947:.
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752:.
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624:.
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559:.
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506:(
470:(
52:)
48:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
