Instruct: Given a question, retrieve relevant documents that answer the question.
Query: When did Lou Lombardo die?
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]
After California Split (1974), Altman wanted Lombardo to edit his next film Nashville (1975). Lombardo declined because he had turned to directing and producing. Altman chose Sidney Levin to edit, who was then succeeded by Lombardo's assistant editor on several films, Dennis M. Hill.[35] In 1977, Lombardo edited The Late Show, which was produced by Altman but directed by Robert Benton. The Late Show is a film noir detective story; Pauline Kael wrote at the time, "The Late Show never lets up; the editing is by Lou Lombardo (who has often worked with Robert Altman) and Peter Appleton, and I can't think of a thriller from the forties that is as tight as this, or has such sustained tension."[36]
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.
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]
In 561, Emperor Xiaozhao, fearful of astrological signs that appear to indicate that the former Emperor Fei would return to the throne, put him to death. When soon thereafter, Emperor Xiaozhao had a riding accident and suffered a severe injury, Empress Dowager Lou attended to him, but as she did, she asked where the Prince of Ji'nan was. When Emperor Xiaozhao was unable to answer, she angrily stated, "Is it not that you killed him? You did not listen to me, and you deserve to die." She walked out without returning. He died soon thereafter, after issuing an edict passing the throne to Gao Zhan, who then took the throne as Emperor Wucheng. Empress Dowager Lou continued to be empress dowager.
After she was busted for training three cavemen, Fan Fei was chained up and watched as the cavemen were fed to Shou-Lou by Lei Kung. When she broke out with the hope that she will die fighting Shou-Lou, Fan Fei punched Shou-Lou in his chest tattoo and gained his powers.
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.
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 had been selected as a member of the American Cinema Editors.[49]
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]
Prior to the album's release Lombardo described leaving Slayer as a career low, because he did not know what type of music to play. "AllMusic" reviewer Vincent Jeffries singled out Lombardo for praise on the album, remarking that Slayer fans "will enjoy the drummer's double bass work and overall aggression throughout the disc." Sorychta said critics and music fans always spot mistakes in their music, because of Lombardo's popularity with Slayer – expecting the band to sound like Slayer and complain. However, when Lombardo uses the double bass drum, Sorychta said people complain "now Grip Inc. sound exactly like Slayer."
Lombardo asked his parents for drum lessons. Although they agreed, the lessons were short-lived; it lasted one week. Lombardo grew bored because the lessons were repetitive and did not challenge him. Lombardo's friends introduced him to disco, which appealed to his affinity for funk, Latin and soul. He became a temporary DJ for a mobile disc jockey under the name A Touch of Class. Unimpressed with their son coming home at 4:00 AM, Lombardo's parents pressured him into quitting the DJ gig or face military school.
Lou's daughter, Lauren, and her family move to Erinsborough. Lou tries to keep his poor financial situation from them, but Sheila tells Lauren, who forgives Lou for keeping it from her. Lou interrupts a break in at Number 32 and the robber pushes Lou to the ground during his escape. Lou learns that his grandson, Mason, was in juvenile detention for breaking and entering and is unhappy that his family have been trying to keep it from him. Lou continues to support his family when things get worse for them and Mason is arrested. When Lou injures his back, Sheila takes care of him and encourages him to get in contact with Ling Mai. Lou is delighted to learn that his daughter wants to see him and he goes to Cambodia. When he returns he reveals that Sheila has been sending him messages on his blog and believes she fancies him. He prepares to let her down gently, but Bailey admits to sending the messages. As Lou approaches his 70th birthday, he realises that none of his male relatives have lived over 70 and believes that he may die. He panics and asks Karl for a check-up. During his birthday party, Lou is delighted to see Lolly. He also learns that his 70th birthday actually occurred the year before. Lou briefly leaves to spend sometime with Lolly.
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]
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]
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]
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In 1998, Lombardo joined a side project called Fantômas with Faith No More vocalist Mike Patton and Melvins' guitarist Buzz Osborne. The band formed when Lombardo was approached by Patton at a Faith No More concert; Patton asked Lombardo about his "fusion" project (Grip Inc.). Patton called Lombardo several months after Faith No More broke up and asked if Lombardo wanted to join Patton's fusion project. Lombardo enthusiastically agreed, "Fuck yeah!"
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.
Lombardo was born in Havana, Cuba on 16 February 1965. He has two older brothers and an older sister. His father owned three meat markets in Havana. Lombardo moved with his family to South Gate, California when Lombardo was two years old. His brothers previously emigrated to the US via Operation Peter Pan. Lombardo's musical interest were fueled by his first musical performance when he was eight years old; he played bongos to Santana's "Everybody's Everything". Lombardo joined his school's band and played the marching drum. After noticing his son's persistent interest in music, Lombardo's father bought him a five-piece Pearl Maxwin drum set for $350 when Lombardo was ten years old. Lombardo bought his first record, "Alive!" by Kiss, to play along with. He learned to play Kiss' "100,000 Years" by repeatedly listening to the record until he could play the drum solo perfectly.
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]
Cárdenas' successor, Manuel Ávila Camacho, had been a protégé of Cárdenas, but was more conservative. He engineered Fidel Velázquez's appointment as head of the CTM when Lombardo Toledano did not stand for reelection in 1941. Lombardo Toledano remained influential in CTM, pursuing a course of support for the war effort and opposition to strikes when Mexico entered the war against Hitler. 
This filmography is based on the Internet Movie Database.[11] Lombardo's credits are listed in the first parentheses. The director and release year are indicated in the second.
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.
Richt was raised in a blue collar family, the second oldest of five children. He was born in Omaha, Nebraska to Lou and Helen Richt. Lou worked as a tool-and-die maker for Western Electric. In 1967, the Richt family moved to Boulder, Colorado when Lou got a new job. In 1973, Lou was transferred to South Florida where Mark would graduate from high school.