Tuesday, March 31, 2015


     Kenneth Branagh’s CINDERELLA is delightful.  Shots of geese early in the movie foreshadow the role one such creature will play in getting our long-suffering heroine to and from the ball.  But the imagery also suggests that Mr. Branagh’s film is going to be silly.  Unashamedly sentimental and melodramatic, never above slapstick to get a laugh, it is, after all, for the kids.

     Yet the movie is clearly stamped with the mark of its auteur.  When Ella is first smitten by the prince she mistakes for an apprentice, the director has her sing a ditty from Shakespeare’s MUCH ADO ABOUT NOTHING.  During a stag hunt, Mr. Branagh uses tracking shots that recall the Battle of Agincourt in his glorious production of HENRY V.  And that film’s “chorus,” Derek Jacobi, plays the king in CINDERELLA, here to assure viewers that performances will be as well-honed as they are in all Kenneth Branagh films.

     Thus what might have been an insufferable iteration of an old Disney franchise is, instead, exciting cinema – so exciting it brings to mind Ingmar Bergman’s THE MAGIC FLUTE.  The usually brooding Swedish director opened his movie with shots of his awestruck daughter listening to Mozart’s buoyant overture; the opera, of course, is also “for the kids.” And Bergman’s filmmaking, like Branagh’s in CINDERELLA, was as masterful as it had ever been.  Excellent craftsmanship is apparent in the pace achieved by longtime Bergman editor, Siv Lundgren, and in the exquisite  cinematography of the director’s erstwhile partner-in-film, Sven Nykvist.

     Collaborating with the same talented people from picture to picture is always a boon to filmmakers.  Its value is evident in Bergman’s teamwork, as it is in Fellini’s partnerships with cinematographer Giuseppe Rotunno and composer Nino Rota, Hitchcock’s associations with cutter George Tomasini and composer Bernard Herrmann and Woody Allen’s long runs with designer Santo Loquasto and editors Susan Morse and Alisa Lepselter.  Over the years, from movie to movie, directors and their teams develop a shorthand communication that makes the work easier and better.

     The list of similar such collaborations is endless, and surely includes – to come back to CINDERELLA – Kenneth Branagh’s work with composer Patrick Doyle.  Mr. Doyle’s contribution to the Disney fairy tale is as enormous as it was to HENRY V.  In that picture, his music enhanced the Peckinpah-like ferocity of the Battle of Agincourt as well as it underlined the deep emotions of Henry’s St. Crispin’s Day speech.  In addition the music unified the movie’s many varied tones.

     Mr. Doyle’s scores are an integral part not only of Mr. Branagh’s Shakespeare films (including HAMLET, MUCH ADO, TWELFTH NIGHT and AS YOU LIKE IT along with HENRY V), they lift spectacles like THOR, MARY SHELLEY’S FRANKENSTEIN and CINDERELLA high above mere commercial fare.  (Although Mr. Branagh’s LOVE’S LABOUR’S LOST is one of my cherished guilty pleasures, it’s not completely successful, in part because its soundtrack consists primarily of old standards; Patrick Doyle wrote only incidental music for the picture.)

     The emotional colors of CINDERELLA, like those of HENRY V, are, indeed, diverse.  While at times the movie is “as silly as a goose,” it’s also infused with the sadness of loss, the melancholy of class distinctions and the romance of young lovers so smitten they ignore the rigid rules of social stratification.  There’s the heart-quickening tension of deep and magical secrets almost exposed, there’s vengefulness and forgiveness.  There’s the suggestion that all will end badly (even though we know it won’t), there’s the giddily happy ending.  And all are woven into a coherent whole by Patrick Doyle’s rich symphonic underscore.

     Many CINDERELLA viewers, like myself, found themselves welling up from beginning to end.  That, too, is a result of the composer’s rich, melodic music.  Of course the score is manipulative.  But the reason we watch a fairy tale, in the end, is to have our emotions played with.

     And after the final cathartic cry, Mssrs. Branagh and Doyle bestow a little gift upon those who sit through CINDERELLA’s tail credits.  As the titles roll on, Mr. Doyle’s original music ends and his arrangement of  “Bibbidi-Bobbidi-Boo” (from the animated 1950 Disney feature), now sung by Helena Bonham-Carter, takes over the soundtrack. Also known as “The Magic Song,” “Bibbid-Bobbidi-Boo” is the perfect coda to the magical experience of Mr. Branagh’s movie.

     I left CINDERELLA thinking I’d just heard a shoo-in for an Oscar nomination for Best Original Score next February.  When Wes Anderson’s THE GRAND BUDAPEST HOTEL was released this time last year its brilliant balalaika music by Alexandre Desplat made me feel the same way.  M. Deplat’s soundtrack was brilliant, but I wondered if the Academy’s music branch and its general membership would remember it eleven months down the road.  They did and GRAND BUDAPEST’s composer picked up the coveted trophy.  I won’t be surprised if Patrick Doyle does the same for CINDERELLA. 


Wednesday, February 25, 2015


     Working on set and in cutting rooms, sadly, leaves little time for blogging. So it’s been a long time since I’ve posted here.  But I had so much fun talking about movie music on my good friend Lauren Fay’s UCLA radio show “Lost and Sound” that I want to write about it.

     First, live radio goes by at amazing speed.  Although I knew which pieces we’d play and had a sense of what we’d talk about, there were times when I felt like a little league kid facing a pro fastball pitcher.  Asked about my work on SOUL PLANE, for example, I responded as though I’d been asked about I’M GONNA GIT U SUCKA! Then the moment was gone, the ball already past me, in the catcher’s mitt.

     Teeing up Miles Davis’ brilliant score for Louis Malle’s ELEVATOR TO THE GALLOWS, I implied that Miles hadn’t been classically trained.  He’d studied at Julliard, of course, but there was no taking back the “swing and a miss.”  Earlier, I’d left the impression that INFINITELY POLAR BEAR, deftly scored by composer Theodore Shapiro, contained only songs on its soundtrack.  And as the show sped on I heard the ump growl, “Stee-ri-i-ke!”

     Omissions continued.  I never pointed out the fact that two of our clips featured sound design by the great Wylie Stateman.  I wanted to discuss what music supervisors do – supervisor extraodinaire Randall Poster’s work was behind four of the pieces we played -- but the subject never came up.

     All that said, however, I was relaxed… and light years away from my first radio gig, during which WBAI host and brilliant essayist Lenny Lopate reminded me, as I answered a yes-or-no question, “Our audience can’t see you nod your head.”

     I’ve always loved radio and I’m excited that young music aficionados like Lauren Fay embrace it, too.  Watching Martin Scorsese’s delightful documentary, BRINGIN’ IT ALL BACK HOME, we learn that Bob Dylan fell in love with music on stations thousands of miles from his Minnesota home while listening to his crystal set every night.  Whole generations of musicians and filmmakers discovered songs in similar ways.  And here in 2015, on “Lost and Sound,” Lauren shares her passions: Afro-Cuban records, “devil music,” local indie bands and, yes, movie soundtracks, with listeners for whom such sounds are all brand new.

     Perhaps I’m also fond of radio because, like film, it’s becoming rarefied.  Digitally recorded, digitally streamed music selected by Silicon Valley software is radically different from vinyl picked by impassioned disc jockeys, but it’s here to stay.  Likewise, digitally recorded motion pictures digitally projected or streamed on telephones don’t have the magic of light shone through celluloid onto giant silver screens.

     But I also appreciate that live radio is quite different from cinema. Making a movie, we shoot take after take after take, for weeks on end, until we have the best combination of performance and camera work for every beat of every scene.  We then spend months in the editing room, selecting, refining and rearranging these moments, and many more weeks creating and mixing the sound and music, tweaking visual effects and adjusting the color.  So it takes about a year to make a typical two-hour movie.  A one-hour radio show requires an hour of studio time.

     Which brings me back to things I omitted and errors I committed as the clock ticked away.  SOUL PLANE, which Lauren asked about in vain, was quite a trip from a musical standpoint.  Working with RZA on the score, with performances by Method Man, Snoop Dogg and Little John in the film, and with songs by 50 Cent, Nelly and Styles on the soundtrack, exposed me to a kind of music I hadn’t known well, but which was perfect for the picture. Another vibrant color on the palette, another important tool in the kit!

     All those tracks, of course, had to be wrangled - pieces tried for this scene or that, some rejected, some fitting perfectly.  Clearances were obtained and deals made with artists, publishers and labels.  Director Jessy Terrero and I needed suggestions for temp score, and alternatives to cuts that were too expensive.  We were lucky to have -- you guessed it -- a great music supervisor.  Melody London and I had worked together on several films, and on this one she knocked it out of the park.

     I also mentioned supervisor Randall Poster, with whom I’ve worked a few times.  He was supervisor on GRAND BUDAPEST HOTEL, for which composer Alexander Desplat just won an Academy Award for Best Score.  I remember an amazed Randy calling from a scoring stage in Romania filled entirely with balalaika players, an ensemble I suspect he had a hand in a putting together for that picture.  He currently supervises the Amazon series MOZART IN THE JUNGLE and worked on  GOODFELLAS, PULP FICTION, JACKIE BROWN and INFINITELY POLAR BEAR – movies from which I played records on “Lost and Sound.”

     I could go on about what we didn’t explore on the show:  the joy of working with Leonard Feather on the jazz tracks (and James Horner on the score) for SWING KIDS; the privileged moments, while working with Jerry Goldsmith on MEDICINE MAN, of chatting with the maestro about his writing 40 minutes of music a week for PLAYHOUSE 90 and conducting it live; the sense of musical adventure in every Martin Scorsese soundtrack, from the RAGING BULL’s  “Cavalleria Rusticana” to THE COLOR OF MONEY’s “Werewolves of London” and beyond.  I wish we’d had time to mine the gold of music documentaries.

     But take a listen to what we did do on the show.  In one hour, we presented a pretty exciting playlist that included a couple of Bernard Herrmann pieces, one by Miles Davis, and songs by Brenton Woods, The Chips, Townes Van Zandt, The Delfonics, Chuck Berry, The Fugs and, my own favorite, Rabbi Marshak from Joel and Ethan Coen’s A SERIOUS MAN.





Wednesday, April 30, 2014


     LAST WEEKEND, directed by Tom Dolby and Tom Williams from a screenplay by Mr. Dolby, will have its world premiere on May 2nd at the San Francisco International Film Festival. It tells the tale of a mother (played stunningly by Patricia Clarkson) who, in the course of an eventful Labor Day weekend, comes to terms with the fact that she no longer plays a central role in the lives of her grown sons.  I’m proud to have been the film’s supervising editor.    

      At my first meeting with Tom and Tom -- my job interview -- the directors said the tone of the piece was meant to be Chekhovian. Specifically, Tom Dolby’s story about a gathering of kith and kin at a family estate soon to go on the selling block evoked The Cherry Orchard.  On the title page of Anton Chekhov’s text, the playwright tells us his piece is “A Comedy in Four Acts.”  Famously, Stanislavski directed its first production, at the Moscow Art Theatre, as a tragedy.  The challenge in editing, then, would be to keep both humor and pathos alive while still endowing LAST WEEKEND with a stylistic and emotional unity.

     And indeed, the narrative unfolds with a comfortable mixture of comedy and drama.  Combining levity and gravitas, of course, heightens an audience’s experience of each.  I was reminded of this artful dynamic a few months ago after a screening of Brian Percival’s THE BOOK THIEF.  Lead actor Geoffrey Rush arrived at the end of the movie for a question and answer session and asked, “Did we get the laughs?”  While that might seem like an odd query about a sad story set in Nazi Germany, it was an important one for Mr. Rush.  “If we don’t get the laughs,” he explained, “we don’t maximize the tears.”  He’s right; emotional extremes keep the viewer’s guard down.

     The Toms, as cast and crew came to call them, understood this from the start.  So my interview became a work session.  The directors’ vision -- the one to which an editor tries to remain true as a picture evolves -- was laid out.  Comedy and drama were to play equal roles as LAST WEEKEND’s story unfolded; to succeed, the film had to maintain a delicate tonal balance.

     It may surprise non-editors to learn that thematic and emotional values are what directors and editors talk about from the get-go.  But really, what else is there to discuss?  Nothing has been shot, so cutting rhythms and patterns are random abstractions at this point.

     There’s no reason for an editor talk to a director about the software she or he will use at a first meeting… or ever.  No matter how exciting editing students might find such a chat, discussing Avid or Adobe with a contemporary director would be as meaningless as telling Hawks, Hitchcock or Wilder what kind of splicer the cutter might use.

      So, the screenplay is the focal point of the job interview.  The director’s interpretation is paramount, to be sure, but the editor’s impressions are also quite important.  And Tom and Tom wanted to hear about mine.  I could see the Chekhovian nature of the writing, I told them.  But it also evoked, for me, the feel of George Cukor’s THE PHILADELPHIA STORY.  In that film, Jimmy Stewart’s character, Macaulay Conner, says more than once, “With the rich and mighty, always a little patience!”

     It’s not that Tom Dolby’s script defends oligarchy; it absolutely doesn’t.  But the film does show affluent characters to be multi-dimensional and deeply human. And yet, unlike most contemporary Hollywood movies, LAST WEEKEND refuses to shy away from dialogue about socio-economic class. In one amusing scene, the family patriarch (Chris Mulkey) boasts that he’s not nouveau riche as are his “dot-com-er” neighbors. After all, you see, his fortune (from a chain of workout gyms) is over two decades old!

     I guess the Toms were comfortable with my impressions and with the extent to which I understood and embraced their vision, because we did wind up, happily, working together.  But there’s also subtext to the initial director/editor meeting – something beyond agreement about the substance of a script.  Since directors and editors spend many hours a day in the editing suite for months on end, the question, “Is this someone I can abide in cramped quarters for a protracted period?” lies beneath the surface.   

     And the answer has little to do with whether the editor wears the right perfume or cologne (or none) to a meeting, or whether she or he likes indie bands, single malt scotches or the Dodgers. (Those things might come up, as text, to be sure, but they’re relatively unimportant.)  Potential compatibility in the cutting room is really determined by how prepared the editor seems to be, how eager she or he is to hear what the directors have to say and by the quality of ideas she or he brings to the table.

     What’s more, it’s imperative that those ideas relate to the directors’ vision.  If I had suggested Tom and Tom that LAST WEEKEND needed additional one liners to become more of a broad comedy I might have had a point, but not one related to the Chekhovian film about families they set out to make and that, together with my co-editor David Grey and the whole cast and crew, we succeeded in making.

     Recalling the successful meeting with the Toms, along with the lessons one can learn from it, somehow makes me think of my very first interview for an editing position – the exact opposite of my LAST WEEKEND experience. The word “disaster” comes to mind.  At the time I was just graduating from assisting other cutters, and had a couple of editing credits on “afterschool specials” under my belt.

     I'd read Ralph Rosenblum’s anecdotal feast, When The Shooting Stops (The Cutting Begins) and found it inspiring in all the wrong ways.  Don’t get me wrong.  There’s much for filmmakers to glean from the book -- indeed, Tom Dolby read and enjoyed it while we were editing LAST WEEKEND –- but the author’s tone suggests that he singlehandedly “saved” almost every picture on which he worked, including Woody Allen’s TAKE THE MONEY AND RUN, ANNIE HALL and INTERIORS.  Mr. Rosenblum's stories left me with the impression that the trait directors admired most in an editor was ruthless critical objectivity.

     So I took the room by storm. I was smug, superior and didactic – a real charmer -- telling the writer/director about all the things, real and imagined, that were wrong with her screenplay.  Her jaw and those of the producers dropped.  They were speechless.  As the silence became awkward and painful, I simply filled it with more hot air, continuing to insult an artist who has since received critical acclaim for her New Yorker short stories and other fiction. Not my shining moment!

     Indeed, I’ve come a long way. When recommending When the Shooting Stops to Tom Dolby I did so with a caveat about its tone.  I’ve long known that the most important contribution an editor can make to a film is to help shape it into the best version of what the directors envisioned in the first place.  And I’m confident that we did that with LAST WEEKEND.      

Thursday, April 17, 2014


            A tribute to Dede Allen, editor of such groundbreaking films as THE HUSTLER, BONNIE AND CLYDE and THE ADDAMS FAMILY, was long overdue.  So on Saturday, April 5, the Motion Picture Editors Guild inaugurated its Dede Allen Seminar Room.  The space is a perfect memorial for the late dean of New York editing, because she loved teaching her craft to others and she loved the guild.   Local 700 president Allen Heim (ALL THAT JAZZ, VALMONT, AMERICAN HISTORY X) used a good old-fashioned splicer to cut the “ribbon,” a piece of 70mm. celluloid.  

       Dede deeply affected everyone she mentored.  And several of her former assistants who became brilliant cutters in their own right – “Dede’s boys” as they were known –attended the ceremony.  Richard Marks (APOCALYPSE NOW, PENNIES FROM HEAVEN, TERMS OF ENDEARMENT) and Jerry Greenberg (THE FRENCH CONNECTION, KRAMER VS. KRAMER, THE UNTOUCHABLES) and others credit her with being an inspiration as well as a great teacher.

       I never had the privilege of assisting Dede.  But she had a profound influence on every editor I know, and certainly on me.  Her cutting of, say, the bank vault scene in DOG DAY AFTERNOON continues to offer fresh insights into when to “match action” (or not), which character to be on during exchanges of dialogue, and shot-to-shot rhythms in general.

      Dede often had very large crews, in which collegial spirit abounded.  How large were they, Johnny?  Well…  I was once at a dinner party with David Lynch’s editor, Mary Sweeny.  Trying to figure out where we might have met before, we realized we’d both been assistant editors in New York in the 1980’s.  “Did you work on REDS?” Mary asked.  I hadn’t.  “Ah!” she said, “you’re the one.”

      I met Dede Allen while she was cutting REDS, when I happened to walk past her cutting room at Trans Audio on St. Patrick’s Day, 1981, just as she was taking a break.  She graciously invited me to share an Irish coffee with her.  (A more Irish punim than Dede’s I’ve never seen.)   At the time, I didn’t consider myself new to post-production, but I hadn’t met the dean.  And Dede wanted to welcome me to her amazing world.  Best cuppa Joe I ever had!

      Subsequently, I would run into her at union meetings or in the sacred corridors of Trans Audio and the Brill Building’s Sound One.  No matter how busy, she always showed a genuine interest in what I was up to and how I was enjoying the ride.

     That ride took me, in the 1990’s, to Warner Bros., where Dede had become an executive.  Studio brass realized they needed someone who understood what could and couldn’t be done to help a picture in post-production.  And they needed someone who was able to communicate with cutters in a way that they couldn’t.  Dede was the perfect person for them, and a gift to me.  She encouraged risk-taking for the good of the picture -- especially with mainstream material -- while also teaching me a bit about studio politics.

     During her tenure at Warners, technological changes began to transform editing.  Dede kept up with them and eventually returned to the cutting room, receiving an Oscar nomination for WONDER BOYS in 2001.  Right until the end she had and was eager to share filmmaking wisdom.  She’s been gone for four years now.  But when faced with an editing problem, I still ask, as do dozens of editors, “What would Dede do?”

     Dede’s children, extraordinary re-recording mixer Tom Fleishman (DO THE RIGHT THING, PHILADELPHIA, GOODFELLAS) and Ramey Ward, a “civilian,” both flew in to attend the dedication of the seminar room.  Ramey talked about why she chose not to work in the film industry: in less than one day in a cutting room, she realized post-production required much more anal retentiveness than she’d bargained for. 

      Tom spoke glowingly about his mom’s love of our craft, of her love for the women and men who practice it and for working people in general. He’s quite fortunate to have inherited those passions from Dede. And it’s always great to see him in L.A. for any reason.

Tuesday, March 11, 2014


     Here are a few scattered thoughts, more diary-like than most of the posts on this site have actually turned out to be:

     First, it was delightful to start the post-Oscar movie-going season with Wes Anderson’s THE GRAND BUDAPEST HOTEL.  The picture’s opening scene, in which a tweedy Tom Wilkinson attempts to spin a yarn with some decorum but is pelted by his pea-shooting son in a fashion reminiscent of the Marx Brothers and “Our Gang,” gives viewers license to laugh.  Such permission is important because the design of the film is so artful, its plot so filled with unexpected twists and its balalaika score by Alexandre Desplat so original that one might feel too overwhelmed to guffaw as she or he should.

     Part caper movie, part screwball comedy and part buddy picture, GBH is brilliantly performed by Ralph Fiennes, F. Murray Abraham, newcomer Tony Revolori and a shockingly star-studded cast that includes Wilkinson, Willem Dafoe, Jeff Goldblum, Harvey Keitel, Tilda Swinton, Adrien Brody, Jude Law, Bill Murray, Jason Schwartzman, Owen Wilson, Bob Balaban, Edward Norton and a host of less well-known but equally capable character actors.  (Fisher Stevens, Wallace Wolodarsky and Saoirse Ronan are among those who deserve to be more recognized.)

     The narrative unfolds like the cinematic version of a Russian nesting doll-- as a story within a story within a story. Bob Yoeman’s rapidly moving camera always hits its mark perfectly and contributes as much to the movie’s breakneck pace as Barney Pilling’s taught editing.

     Adam Stockhausen’s sets capture the grandeur of an exclusive hotel in the Dinaric Alps on the eve of World War II while also emerging as works of art in and of themselves. An elevator reminiscent of Matisse’s “Red Studio” shares screen time with intentionally primitive looking funiculars, hilarious paintings, Agatha Christie-inspired train compartments, impossible bakeries, Andersonian servants' quarters and a fa├žade that makes the Grand Budapest look like a dollhouse.

     There’s a model of Stockhausen’s hotel on display in the lobby of the Arclight cinema in Hollywood, and the rendering is eye-popping and fun.  But it’s also a reminder of the depth, complexity and hilarity of Wes Anderson’s story, not at all a relic of a movie overwhelmed by its own scenery. One takes it in while exiting the theatre and wants to turn around and watch film again.

     The pleasure of  seeing THE GRAND BUDAPEST HOTEL at the Arclight – moving on to the next random thought -- brings to mind what a great city Los Angeles has become for motion picture viewing. Not only does it still have grand movie palaces (The Vista, El Capitan, The Egyptian and the main auditorium at Mann’s Chinese Theatre), its “repertory cinema” is at a level of quantity and quality I haven’t seen since I lived in New York in the 1980’s.  There, on any given night, I could watch great European and Asian films, old and new, as well as vintage Hollywood pictures, at such venues as The Thalia, The New Yorker, The Carnegie Hall and Bleeker Street Cinemas, at Cinema Studio and at the venerable Film Forum. Only Film Forum, as far as I know, survived the crushing blow of real estate development, which has made it nigh impossible for a single screen theatre with low admission prices to turn even a modest profit.

     But in L.A. today, Cinefamily, The New Beverly, The American Cinematheque, (at The Egyptian and The Aero) and The Los Angeles County Museum of Art (LACMA) all have excellent World Cinema and Hollywood “golden age” programming.  On March 1, the night 91 year-old Alain Resnais passed away, I watched a restored print of JE T’AIME, JE T’AIME at Cinefamily. (Resnais’ 1968 film also played that night at Film Forum in New York).  This month LACMA will present an evening with Ennio Morricone (THE GOOD, THE BAD AND THE UGLY, THE UNTOUCHABLES, DJANGO UNCHAINED) and interviewer/collaborator Quentin Tarantino.  Later in March, the museum will screen the Hollywood classics MY MAN GODFREY, GOING MY WAY and MOROCCO.

     It would seem, then, that all goes well for Los Angeles movie lovers. But I must end on a much darker random note:  I was deeply saddened to hear that director Scott Kalvert died on March 7, apparently by his own hand.  I worked with Scott on DEUCES WILD (2002), which featured a remarkable ensemble cast. Matt Dillon, Stephen Dorff, Brad Renfro, Fairuza Balk, Debbie Harry and a then-unknown James Franco were all eager to work with Scott because of his stellar direction of Leonardo DiCaprio, Mark Wahlberg, Juliette Lewis and Lorraine Bracco in a 1995 adaptation of Jim Carroll’s THE BASKETBALL DIARIES.

     I have no special knowledge of what made Scott despondent.  But it often seemed to me he never recovered from lawsuits alleging that murderers at high schools in Paducah and Columbine were inspired by a dream sequence in THE DIARIES.  The fact that the suits were frivolous – that they ignored the fundamental sociopathy of the killers – and the fact that they were consequently dismissed, didn’t especially mitigate the damage they did to Scott.  Filmmakers who excel at their craft must be unusually sensitive.  And any sensitive person would be devastated by the suggestion, no matter how wrongheaded, that his work led to the killing of innocent teenagers.

     Blaming Scott Kalvert’s adaptation of Jim Carroll’s memoir for the shootings was as preposterous as asserting that The Beatles’ “Helter Skelter” caused the Manson murders or that J.D. Salinger’s The Catcher in the Rye is the reason Mark David Chapman shot John Lennon.  No doubt, the British band and the reclusive author were affected by news stories linking them to heinous crimes.  But neither the fab four nor Salinger were sued by victims.  And both had bodies of work so extensive and esteemed as to insulate them from ludicrous accusations.  THE BASKETBALL DIARIES was Scott’s first feature film; he was all but defenseless.

     My deepest condolences to his loved ones. Rest in peace, Scott Kalvert.