>> As for Morris from the film
school here I think was, yeah,
the School of Communications and Theater.
I think it's changed names
a bunch of times since then.
I moved to Los Angeles three
weeks after I graduated.
And about six months -- or three months
later I got a job, as it was called --
basically what's referred to as a go-fer.
Which means you go for things.
And I'd always would get
lunches and deliver script pages.
And before that you'd get an email.
So now you can just hit send and email
a script page to everybody you want.
And then I had to drive it
to every single place.
And I did that for six months.
And they offered me a job as an on-set
PA, which is a step up from go-fer.
Which is still bottom of the ladder.
And I said to them, well,
could I be a film editor?
I mean could I be an apprentice film editor?
Because that's what I wanted.
My passion was what I learned
here in my senior year of Tempo,
I learned that I really had
a passion for film editing.
I asked him if I could be an apprentice editor.
And I didn't even know how ridiculous
a question that was, and they said yes.
Because out of being -- just
being naïve to like, knowing,
now they would look at me like, what?
You can't -- no.
Just do this.
Be happy with this job.
But they said yes.
And I was lucky enough to be
able to work for a film editor.
It was a television movie, but it was a film
editor who had done a lot of big features.
And he came back to do this television
movie as a favor to the producer.
And from him, his name is
John Wright [phonetic] and he
and his assistant really taught me
the right way to work as an apprentice
and as an assistant on really high-level films.
So I worked as an apprentice.
And worked on a bunch of movies.
I worked on "The Breakfast Club".
I worked -- which everybody's
really excited about.
Even though I did very -- nothing to do
with the actual editing of the movie.
I put trims away -- little bits of film away.
And coded film.
And carried things that -- but still,
I got to work with Dede Allen
who is a legendary film editor.
Who cut "Reds" and "Bonnie and Clyde".
And "Little Big Man".
And "Serpico".
And "Dog Day Afternoon" and on and on and on.
So I got to work with her early on,
which was really exciting for me.
And my big break was, I got on a movie
called, "Citizen X", which is a cable movie --
an HBO movie I got an Emmy nomination for.
And the writer/director of that
movie was friends with Michael Mann.
Michael Mann was looking
for an editor on "Heat".
And Chris, the director,
recommended me for "Heat".
And Michael hired me on "Heat".
Even though I had almost no experience.
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