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Barry Malkin | |
|---|---|
 | |
| Born | October 26, 1938 New York City, U.S. |
| Died | April 4, 2019 (aged 80) New York City, U.S. |
| Occupation | Editor |
| Years active | 1964–2004 |
| Spouse | Stephanie Byer Malkin |
Barry M. Malkin (October 26, 1938 – April 4, 2019) was an American film editor with about 30 film credits. He is noted for his extended collaboration with director Francis Ford Coppola, having edited most of Coppola's films from 1969 to 1997. In particular, Malkin worked with Coppola on four of the component and compilation films of the Godfather trilogy, though he did not edit the first film, The Godfather. Film critic Roger Ebert called the first two Godfather films a "cultural bedrock".[1][2][3][4][5][6]
- ^ Moreau, Jordan (April 5, 2019). "Barry Malkin, 'The Godfather: Part II' Editor, Dies at 80". Variety.
- ^ Barnes, Mike (April 5, 2019). "Barry Malkin, Francis Ford Coppola's Film Editor and Two-Time Oscar Nominee, Dies at 80". The Hollywood Reporter.
- ^ Malkin worked on thirteen films directed by Coppola in this period; see the filmography in this article. He did not work on The Godfather (1972), The Conversation (1974), One from the Heart (1982), The Outsiders (1983), Captain EO (1986), Tucker: The Man and his Dream (1988), and Bram Stoker's Dracula (1992); for Coppola's filmography see "Francis Ford Coppola > Filmography >> AllMovie". allmovie.com. Retrieved 2009-12-23.
- ^ Oldham, Gabriella (1995). First Cut: Conversations with Film Editors. University of California Press. pp. 323–324. ISBN 978-0-520-07588-7.
- ^ Barry Malkin at IMDb
- ^ Ebert, Roger (October 2, 2008). "The Godfather, Part II (1974)". Chicago Sun Times.
why is it a 'great movie'? Because it must be seen as a piece with the unqualified greatness of 'The Godfather.' The two can hardly be considered apart ('Part III' is another matter). When the characters in a film take on a virtual reality for us, when a character in another film made 30 years later can say 'The Godfather' contains all the lessons in life you need to know, when an audience understands why that statement could be made, a film has become a cultural bedrock.
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