Michael Luciano

 ( 1909 Births ) 

Aldrich enjoyed particular success with the 1962 film What Ever Happened to Baby Jane? and its offspring Hush...Hush, Sweet Charlotte (1964). The latter film won Luciano his first major recognition with a nomination for the Academy Award for Best Film Editing, which was just one of the seven "Oscar" nominations for the film. The following year, Luciano's editing of The Flight of the Phoenix was nominated both for the Oscar and for the Eddie Award of the American Cinema Editors. The American Cinema Editors does not provide an archive of Eddie awards, referring instead to the Internet Movie Database. See The film that was Aldrich's greatest commercial success was The Dirty Dozen (1967), which had the fifth largest US ticket sales in 1967. Luciano won the Eddie award for the picture, and was again nominated for the Oscar. The Longest Yard (1974), again directed by Aldrich, garnered Luciano his second Eddie Award and a fourth Oscar nomination.The winner of an Eddie award is selected by a vote of the membership of the American Cinema Editors, whereas Oscars are decided by the voting members of the entire Academy of Motion Picture Arts and Sciences, including actors, writers, producers, and practitioners of many of the other film crafts. See

The final film of the long Aldrich-Luciano collaboration was Twilight's Last Gleaming (1977). For about 23 years, Luciano had been a member of Aldrich's "informal repertory company", which also included cinematographer Joseph F. Biroc and composer Frank De Vol.Alain Silver has written that "Like many producers and directors, Aldrich preferred working with the same group of people and considered these writers, crew members, and actors as part of his extended family." See

Glenn Erickson has discussed the split-screen editing of Twilight's Last Gleaming, which was Luciano's final film with Aldrich, "In this show Aldrich and Luciano make effective use of split screens to show multiple parallel actions simultaneously. Actions that play out in real time seem more immediate, when we see all the information all at once: a pair of commandos set a nuclear device on one side of a steel door, while on the other side General Dell and his fellow gunmen begin to guess that just such a commando sneak attack might be taking place." Ben Sachs notes that the clearly visible editing that characterized Kiss Me Deadly was toned down in later films by Aldrich and Luciano, "Intriguingly, Aldrich's style grew more modest as his content grew more provocative. Where his 1950s and 1960s work teems with hopped-up editing and Orson Welles camera angles, his later films are comparatively straightforward...The filmmaking privileges content over style, pushing to the foreground the contradictions inherent in the material."

Luciano had been selected as a member of the American Cinema Editors. Reprinted copies of the newsletter.

Documentaries

TV documentaries

TV movies

TV series

• List of film director and editor collaborations

• Irv Slifkin has quoted Aldrich on the importance of both producing and directing his films: "The power is for the director to do what he wants to do. To achieve that he needs his own cutter, he needs his cameraman, he needs his own assistant and a strong voice in his choice of writer; a very, very strong voice on who’s the actor. He needs the power not to be interfered with and the power to make the movie as he sees it." See
• Tony Williams (2025). 9780810849938, Scarecrow Press. . ISBN 9780810849938