Instruct: Given a question, retrieve passages that answer the question.
Query: Did Lou Lombardo have a wife?
Lombardo and his wife, Lynn, had two daughters and a son, Tony Lombardo, who also became a film editor.[46][47] In addition to his son, Lombardo mentored Dennis M. Hill and Paul Rubell in the early stages of their careers.[48] Lombardo was interviewed about his career by Vincent LoBrutto in 1991.[13] In that same year, he suffered a stroke that left him comatose until his death in 2002.[1][46]
On December 31, 1956, the Lombardo band did their first New Year's TV special on CBS; the program (and Lombardo's 20 subsequent New Year's Eve TV shows) included a live segment from Times Square. Although CBS carried most of the Lombardo New Year's specials, there were a few years in the late 1960s and early 1970s when the special was syndicated live to individual TV stations instead of broadcast on a network. By the middle 1970s, the Lombardo TV show was facing competition, especially for younger viewers, from "Dick Clark's New Year's Rockin' Eve", but Lombardo remained popular among viewers, especially older ones.
In 1986 Lombardo returned to editing with the fairly inconsequential Stewardess School. The film was produced by Phil Feldman, who had produced The Wild Bunch about 15 years earlier. Lombardo's next film was Moonstruck (1987), which was being directed and produced by Norman Jewison. Moonstruck was extremely successful at the box office, garnered three Academy Awards and three additional nominations, and has been well-regarded by many critics.[43][44] Stephen Prince has written, "Another brilliant editor of late-sixties American cinema, Lou Lombardo (who edited The Wild Bunch (1969) to seminal effect) worked sporadically in the eighties and mainly on low-key films (Moonstruck, In Country (1989)) where his editing choices showed the intelligence and subtlety that rarely wins Oscars. The wonderful comic effectiveness and timing of Moonstruck, for example, depends as much on Lombardo's editing as on John Patrick Shanley's script or the performances by Cher, Nicolas Cage, and the rest of the cast."[10] Lombardo next edited The January Man (1989), which was also produced by Jewison but directed by Pat O'Connor. Lombardo worked on five more films through 1991, of which the very popular comedy Uncle Buck (1989, written and directed by John Hughes) is likely the best known.[45] The final film edited by Lombardo was still another of Jewison's productions, Other People's Money (1991).
Lombardo and his wife, Marion, divorced in 1991, but Lombardo continued to reside in the same condominium building, moving after his divorce to a basement unit. In 2006, federal prosecutors alleged that Lombardo's divorce was a sham to hide money. "If you think it's a sham divorce, investigate it," Lombardo's attorney Rick Halprin told reporters on February 9, 2006.
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After a couple of years, his skill began attracting other musicians. One was Guy Lombardo, who remained friends with Martin throughout his life. After graduation from high school, Martin accepted a job at the H.N. White musical instrument company. When Lombardo was playing in Cleveland, Martin tried giving Lombardo some saxophones, which proved unsuccessful. But, Lombardo got to hear Martin's band. One night, when Guy could not do a certain date, he suggested that Martin's band could fill in for him. The band did very well and Martin's career got started. But, the band broke up and he did not form a permanent band until 1931 at the Bossert Hotel in Brooklyn.
Lombardo's final project with Altman was the film O.C. and Stiggs, which was produced around 1984 and released in 1987. Lombardo left the film before post-production was completed; he is uncredited on the film.[37]
Elizabeth Fimple, Deborah Ann's mother, discovers the letter. Her jealous police officer husband, Lou Fimple, sees her reading it. He steals the letter, and believes that his wife is having an affair. He suspects his neighbor (and bridge partner) George Ryan. George also reads the letter (although by mistake) because Lou's wife is his night school teacher and it somehow ends up in his book. When George asks her about it, he assumes she wants to have an affair with him, despite the fact his wife and she are friends. Meanwhile, Lou shows the letter to George's wife, Connie, and proposes that they expose the adulterers. Receiving no response from Deborah Ann, Michael writes a second letter, which Toni again rewrites.
Lou Lombardo, having previously worked with Peckinpah on "Noon Wine", was personally hired by the director to edit "The Wild Bunch". Peckinpah had wanted an editor who would be loyal to him. Lombardo's youth was also a plus, as he was not bound by traditional conventions. One of Lombardo's first contributions was to show Peckinpah an episode of the TV series "Felony Squad" he edited in 1967. The episode, entitled "My Mommy Got Lost", included a slow motion sequence where Joe Don Baker is shot by the police. The scene mixed slow motion with normal speed, having been filmed at 24 frames per second but triple printed optically at 72 frames per second. Peckinpah was reportedly thrilled and told Lombardo: "Let's try some of that when we get down to Mexico!" The director would film the major shootouts with six cameras, operating at various film rates, including 24 frames per second, 30 frames per second, 60 frames per second, 90 frames per second, and 120 frames per second. When the scenes were eventually cut together, the action would shift from slow to fast to slower still, giving time an elastic quality never before seen in motion pictures up to that time.
101 WKQX's airstaff initially included Brian Phillips, Lou Lombardo, Lauren O'Neill, PJ Kling, and "wALT" (Walter Flakus of Stabbing Westward). In June 2015, local comedian Kevin Kellam was hired to host weekends after previously having an off air role in the station's marketing department. 
A few months later, Lou returns after going on the run from drug dealers in Cambodia. He hides out at Number 32, while Stanley Neve (Alex Pinder) follows him to Erinsborough. After Lou receives a smashed Buddha statue in the post, he believes his life is under threat. He decides to fake his own death, but when Sheila delivers an unflattering eulogy, Lou reveals himself. Stanley then explains that Lou had an affair with his wife, so he planted baking powder in his bag in the hope that he would get stopped at customs. Stanley also explains that there is no drug cartel and that his wife, Rochelle (Carmen Warrington), is on her way to Erinsborough to be with Lou. Lou is horrified, as he did not intend his affair with Rochelle to lead to a fully-fledged relationship, and tries to trick her into thinking he is also involved with Sheila. Rochelle sees through this and breaks up with him. When Amber and her daughter Matilda (Eloise Simbert) move to Queensland, Lou returns with them. Lou helps Doug complete a bucket list with Karl's help. He also considers trekking the Kokoda Track, but his family talk him out of it. He then decides to return to Cambodia.
Louis Lombardo (November 18, 1928 – June 11, 2001) was a Major League Baseball pitcher who played in two games for the New York Giants in 1948.
In his later years, Saban had heart problems and a fall in his home that required hospitalization. He died at his home in North Myrtle Beach, South Carolina on March 29, 2009. He was married to his first wife, Lorraine, and had a son, Thomas, and 3 daughters, Patricia, Barbara, and Christine. Lorraine committed suicide at their home in Orchard Park, New York in the summer of 1977 while readying to join Lou at his new job in Miami. He shared seven children with his second wife, Joyce but did not have any children together.
Lombardo both produced and edited The Black Bird (1975), which was a humorous sequel to the film noir classic The Maltese Falcon; the film also starred George Segal, and was poorly reviewed upon its release.[40]
Lou Lombardo (February 15, 1932 – May 8, 2002) was an American filmmaker whose editing of the 1969 film The Wild Bunch has been called "seminal". In all, Lombardo is credited on more than twenty-five feature films. Noted mainly for his work as a film and television editor, he also worked as a cameraman, director, and producer. In his obituary, Stephen Prince wrote, "Lou Lombardo's seminal contribution to the history of editing is his work on The Wild Bunch (1969), directed by Sam Peckinpah. The complex montages of violence that Lombardo created for that film influenced generations of filmmakers and established the modern cinematic textbook for editing violent gun battles."[1] Several critics have remarked on the "strange, elastic quality" of time in the film,[2][3][4] and have discerned the film's influence in the work of directors John Woo, Quentin Tarantino, Kathryn Bigelow, and the Wachowskis, among others.[4][5][6][7] While Lombardo's collaboration with Peckinpah lasted just a few years, his career was intertwined with that of director Robert Altman for more than thirty years. Lombardo edited Altman's 1971 film McCabe & Mrs. Miller (1971), which had "a radical approach to the use of dialogue and indeed other sound, both in and beyond the frame."[8] Towards the end of his career Lombardo edited Moonstruck (1987) and two other films directed by Norman Jewison. While his editing is now considered "revolutionary" and "brilliant", Lombardo was never nominated for editing awards during his career.[9][10][11]
Lombardo edited Peckinpah's next film, The Ballad of Cable Hogue (1970). The film itself has not had an impact comparable to that of The Wild Bunch; Prince writes that in this film Lombardo and Peckinpah "experimented less successfully with edits combining normal speed and accelerated action."[1] The Ballad of Cable Hogue was their last collaboration; Peckinpah approached Lombardo about editing Straw Dogs, but Lombardo had already contracted to edit McCabe & Mrs. Miller with Robert Altman.[30]
About 1981 Lombardo directed P. K. and the Kid, which starred a very young Molly Ringwald. The film was not released until early 1987, when Ringwald had become well-known; it nonetheless attracted little attention.[42]
Lombardo co-produced Cheech & Chong's first film, Up in Smoke (1978), which is now known as the "classic stoner comedy".[41] The film enjoyed great box office success. Lombardo is also credited as the supervising editor on the film.
Concepción Lombardo Gil de Partearroyo, best known to the history of Mexico as Concepción or Concha Lombardo Miramon (November 8, 1835 - March 18, 1921), was the wife of Major General Miguel Miramon, who served twice as President of Mexico between 1859 and 1860. Born Maria de la Concepcion Josefa Ramona Ignacia Severa Lombardo, she was born in Mexico city to a wealthy family headed by her father, Francisco Maria Lombardo.
As he had done for Peckinpah on The Wild Bunch, Lombardo acted as a second unit director for additional film footage. Altman and Lombardo spent nine months editing the film in North Vancouver, close to the location of the filming itself.[33] The editing of the film has apparently never been singled out for critical attention, with the exception of the innovative style of sound editing. In his textbook on film production, Bruce Mamer uses the film to exemplify the blending of dialogue from many speakers, "Robert Altman was famous for using this style of layered dialogue cutting. The frontier barroom scene that opens his McCabe & Mrs. Miller (Louis Lombardo, editor) has snippets of conversations underlying the foreground action."[34] Roger Crittenden wrote, "the questions Altman asked about the function of sound encouraged a radical approach to the use of dialogue and indeed other sound, both in and beyond the frame. Lou Lombardo must have played a major part in making the ideas work."[8] Stephen Prince chose a related theme in summarizing Lombardo's collaboration with Altman: "Though his work for Altman was less trendsetting than that for Peckinpah, the partnership with Altman lasted much longer, and Lombardo found the perfect visual rhythms for Altman's wandering and diffuse audio style."[1]
Lombardo became acquainted with Peckinpah when he moonlighted as a cameraman when Peckinpah was directing the television movie Noon Wine (1966). Ultimately this connection led to Lombardo's joining Peckinpah to make The Wild Bunch; Peckinpah was particularly interested in the editing techniques that Lombardo had devised while editing Felony Squad. Lombardo described the crucial scene from the television show in a later interview with Vincent LoBrutto, "Joe Don Baker came out and was being shot by all these police. I printed every frame three times and created slow motion. I intercut him being shot, falling, this guy shooting, that guy running, Baker falling. Sam and Phil Feldman, the producer, saw it and said, 'You've got the job– and, as a matter of fact, we'll use that kind of thing.'"[13] The episode of Felony Squad was "My Mommy Got Lost."[2][20] At that time, slow motion cameras were not commonly used for television work. Lombardo used the laborious trick of stretching time by repeating the individual frames of film two or three times, which required that there be a film splice at every frame. There are typically 24 frames of film exposed each second by standard motion picture cameras, so after tripling Lombardo had 72 frames per second. Intercutting involves the splicing of sections of film from different cameras, or from different "takes" of the same scene.
On November 10, 1931, Lombardo married Virginia Dabe, in Manhattan, New York. His second wife was the former Kathryn Baggott.
Lombardo had worked as a cameraman with director Robert Altman in Kansas City, and the two men both moved to Hollywood in 1956. In the 1970s, Lombardo edited five films directed by Altman, commencing with Brewster McCloud (1970) and concluding with California Split (1974) just four years later.
Some of the topics that are discussed are:After the release of "Think and Grow Rich", Hill began writing "Outwitting the Devil" as an explanation of why some were still seeing failure after following all of the steps in "Think and Grow Rich". His wife, Annie Lou, did not want the book published because of the role the Devil played in it. When Hill died in 1970, the manuscript went into the possession of Annie Lou, who died in 1984. After her death, the manuscript went into the hands of Dr. Charles Johnson, who was Annie Lou’s nephew and president of the Napoleon Hill Foundation. While Dr. Johnson believed the book’s message to be powerful, his wife, Frankie Johnson, shared Annie Lou’s feelings and told Dr. Johnson that she did not want the manuscript published while she was alive. After Frankie’s death, Dr. Johnson passed the manuscript to Don Green, CEO of the Napoleon Hill Foundation. Sharon Lechter was then asked to edit the manuscript, and after several years of annotations and reviews, it was released in June, 2011.
Lombardo had been selected as a member of the American Cinema Editors.[49]