Verna Fields

Verna Fields (née Hellman; March 21, 1918 – November 30, 1982) was an American

Fields came into prominence as a film editor and industry executive during the '

Early life, education, and training

Verna Hellman was born in

After her husband died, Fields began a career as a television sound editor working on such shows as Death Valley Days and the children's programs Sky King and Fury. She installed a film editing lab in her home so that she could work at night while her children were young; she told them that she was the "Queen of Saturday morning".^[5]

By 1956, she was working on films as well. Her first credit as a sound editor was for Fritz Lang's While the City Sleeps (1956). She worked on the experimental documentary The Savage Eye (1959); the co-directors Ben Maddow, Sidney Meyers, and Joseph Strick and the other connections she made on this film were important to her subsequent career. In 1962 Fields won the Motion Picture Sound Editors' Golden Reel Award for the film El Cid (directed by Anthony Mann).^[5]

Following El Cid (1961), Fields was the sound editor on several lesser-known films, including the experimental film The Balcony (1963) with her Savage Eye colleagues Strick and Maddow. Peter Bogdanovich's first, low-budget film Targets (1968) was one of her last sound-editing projects,^[7] and represents her mature work. Bill Warren has described the scene in which the character Bobby starts sniping at freeway drivers from the top of a large oil storage tank: "The sound is mono, and brilliantly mixed – the entire sequence of Bobby shooting from the tanks was shot without sound. Verna Fields, then a sound editor, added all the sound effects. The result is seamlessly realistic, from the scrape of the guns on the metal of the tanks, to the crack of the rifles, to the little gasps Bobby makes just before firing."^[8]

Film editing and teaching

Fields' career as a film editor commenced when the director

Starting in the mid-1960s, Fields taught film editing at the University of Southern California (USC). Douglas Gomery wrote of her time at USC that: "Her greatest impact came when she began to teach film editing to a generation of students at the University of Southern California. She then operated on the fringes of the film business, for a time making documentaries for the Office of Economic Opportunity. The end of that Federal Agency pushed her back into mainstream Hollywood then being overrun by her former USC students."^[9] Fields' students had included Matthew Robbins, Willard Huyck, Gloria Katz, John Milius and George Lucas.^[6]

Fields left no written lectures from her USC years, but a transcript exists from a 1975 seminar that she gave at the American Film Institute. In one characteristic excerpt she said that, "There's a feeling of movement in telling a story and there is a flow. A cut that is off-rhythm will be disturbing and you will feel it, unless you want it to be like that. On Jaws, each time I wanted to cut I didn't, so that it would have an anticipatory feeling — and it worked."^[10]

In 1971, Peter Bogdanovich, with whom Fields had worked on Targets, recruited her to edit What's Up, Doc? (1972); Bogdanovich had edited his previous films himself.^[11] The film was very successful, and is now considered as the second of Bogdanovich's 'golden period' that commenced with The Last Picture Show (1971).^[5]

What's Up, Doc? established Fields as an editor on studio films. She subsequently edited Bogdanovich's final golden period film, Paper Moon (1973), as well as his less successful film Daisy Miller (1974).

George Lucas and American Graffiti

In 1967, Fields had hired George Lucas to help edit Journey to the Pacific (1968), which was a documentary film written and directed by Gary Goldsmith for the USIA.^[12] She had also hired Marcia Griffin for the job, and introduced Griffin and George Lucas; the couple subsequently married. In 1972, Lucas was directing American Graffiti. While Lucas had intended that his wife would edit the film, Universal asked him to add Verna Fields to the editing team. Over the first ten weeks of post-production, George and Marcia Lucas, along with Fields and Walter Murch (as sound editor), pieced together the original, 165-minute version of the film. Each of more than 40 scenes in the film had a continuously playing background song that had been popular around 1962, when the film's story was set.^[13] Michael Sragow has characterized the effect as "using rock 'n roll as a Greek chorus with a beat".^[14][15]

Fields then left American Graffiti. It took another six months of editing to create a shorter, 110-minute version of the film, but upon its release in 1973 American Graffiti was extremely successful both with critics and at the box office.^[13] Shortly after its release, Roger Greenspun described the film and its editing: "American Graffiti exists not so much in its individual stories as in its orchestration of many stories, its sense of time and place. Although it is full of the material of fashionable nostalgia, it never exploits nostalgia. In its feeling for movement and music and the vitality of the night—and even in its vision in white—it is oddly closer to some early Fellini than to the recent American past of, say, The Last Picture Show or Summer of '42."^[16]

Verna Fields and Marcia Lucas were nominated for an

Steven Spielberg and Jaws

Fields edited

The editing of Jaws has been intensely studied for over thirty years.[2]^[18][19][20]

The critic David Edelstein's affectionate comments on Jaws and its editing are also a good indication of the film's lasting influence 30 years after its release:^[21]

Jaws is still one of my favorite movies. I didn't know I could be manipulated like that—so wittily, so teasingly, in a way that made me laugh at my own fear. (The only Hitchcock film I'd seen in a theater was Frenzy, which was too sick to appreciate in the same vein.) What clinched it was that unbelievably brilliant sequence that begins with a high-angle shot of Roy Scheider dropping fish entrails in the water as shark bait. He was resentful; he said to Shaw and Dreyfuss, "Why don't you guys come down here and shovel some of this shit?" And we started to laugh—he said "shit!" heh-heh—and then the head of the shark appeared in the water (no music, no foreshadowing), and I felt my mind detach from my body and my laugh turn into a shriek and merge into the collective shriek of everyone in that huge theater. I literally shook for the rest of the movie: Every cut by the late Verna Fields had me poised to leap out of my seat. (I really learned to appreciate editing from Jaws.)

On a 2012 listing of the 75 best edited films of all time that was compiled by the Motion Picture Editors Guild, Jaws was listed eighth.^[23]

Management for Universal Studios

Shortly after the completion of Jaws in 1975, Fields was hired by Universal as an executive consultant. Some insight into Universal's reasons for hiring her can be gleaned from the fact that during the filming of Jaws, in addition to her editing, Fields had been "omnipresent...at Spielberg's beck and call by means of a walkie-talkie. Often she would shuttle back and forth on her bike between the producers in town and Spielberg at the dock for last-minute decisions".^[6] The producers of Jaws were David Brown and Richard D. Zanuck. Along with Brown, Zanuck, and Peter Benchley (the book's author), Fields helped promote Jaws on the "talk show circuit" in the eight months before its saturation release to 464 theaters on June 20, 1975.^[24] Fields had plainly earned the confidence of the producers and of the studio executives at Universal.

Throughout her career, Fields had worked independently, but in 1976, and following the unexpected success of Jaws, she accepted a position as the Feature-Production Vice-President with Universal.^[9][25] She was thus among the first women to hold high executive positions with the major studios.^[26] In a 1982 interview, Fields was quoted as saying, "I got a lot of credit for Jaws, rightly or wrongly."^[27][28]

Fields had come "up from the cutting room floor" and out of the customary, near-anonymity of film editors.

Fields held her position as a vice president at Universal until her death in 1982. Jaws was the last film that she edited. There had apparently been some discussion that Fields might edit Spielberg's Close Encounters of the Third Kind (1977),^[25] but Michael Kahn took responsibility, and edited all but one of Spielberg's films for the next 30 years. After John D. Hancock, the initial director of Jaws 2, was sacked, it was suggested that Fields co-direct it with Joe Alves. Jeannot Szwarc, however, was hired to complete the film.^[31]

Fields died of cancer in Los Angeles in 1982.^[4] In her honor, Universal named a building at its Universal City, California lot the Verna Fields Building; it lies immediately across from the Alfred Hitchcock Building.^[32] The Motion Picture Sound Editors (MPSE) sponsor an annual Verna Fields Award for Student Sound Editing.^[33] The Women in Film Foundation, which honored Fields with its Crystal Award in 1981,^[30] presently administers the Verna Fields Memorial Fellowship for women film students at UCLA.^[34]

Selected filmography (editor)

References