Instruct: Given a question, retrieve relevant documents that answer the question.
Query: How old was Lou Lombardo?
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 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.
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]
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.
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 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]
Lombardo had been selected as a member of the American Cinema Editors.[49]
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]
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]
When Aukerman reunited with the band as the Descendents for the 1996 album "Everything Sucks", Lombardo and Navetta both participated. Lombardo played bass on "Doghouse" and received co-writer credit on "Eunuch Boy", a song he and Aukerman had written fifteen years earlier. He also wrote and played on the song "Gotta" from the album's recording sessions, which was released on the "When I Get Old" single. Lombardo also joined former Descendents guitarist Ray Cooper in the band Spiffy, who released two singles in 1996.
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]
In 2003, Chicago newspapers began reporting that federal investigators were looking into solving old mob murders. That is when Lombardo retained the services of long time mob attorney Sidney Korshak paralegal and legal profession prodigy Jacques Darrow Carr, an L.D.A. at law. Carr is a Los Angeles legal professional and a long time Chicago Outfit associate dating back to 1980. In 2003, the FBI swabbed Lombardo for DNA. Federal authorities also notified Lombardo during the probe that his life might be in danger. On April 25, 2005, Lombardo, along with 13 other defendants was indicted as part of the federal government's Operation Family Secrets investigation, which lifted the veil on 18 killings since the 1970s that federal investigators had attributed to the Outfit. Lombardo was indicted for his role in at least one murder, as well as for running a racket based on illegal gambling, loan sharking and murder. As federal agents rounded up the 14 defendants on April 25, 2005, they realized that Lombardo had disappeared and become a fugitive.
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's work has been an influence on many rock and heavy metal drummers. Per Möller Jensen of The Haunted cites Lombardo as a major influence, having grown up listening to Slayer; the band was a big influence on his style and The Haunted's. Suffocation drummer Mike Smith also cites Lombardo as an influence. Rocky Gray, former member of the alternative metal band Evanescence was influenced by Lombardo's choice of equipment; "All those old school guys are all TAMA guys. Where I'm from, if you're in the big time, you get a TAMA drum set. You have to be good if you've got a TAMA set."
The first feature film that Lombardo edited was The Wild Bunch (1969), which was directed by Sam Peckinpah.[14] It is a Western noted for its violence, which was unusual in its time, and for its innovative and effective storytelling, camerawork, and editing. The film has proven to be profoundly influential long after its 1969 release, and was an inductee of the 1999 National Film Registry list.[15] [16] In 1995 Peter Stack wrote, "It's astonishing how harrowing The Wild Bunch is, more than 25 years after it blasted its way onto the big screen to become maybe the best shoot-'em-up ever made, the one that turned meanness into a haunting pictorial poetry and summed up the corruption of guilt, old age and death in the American fantasy of the Old West."[17] Stephen Prince wrote in 1999 that, "The Wild Bunch is an epic work, and it has had an epic impact on American cinema" and noted Martin Scorsese's description of the film as "savage poetry".[18] Paul Seydor has described the film as "one of the great masterpieces of world cinema", and then further notes that "Any discussion of The Wild Bunch implicitly acknowledges the editing by Lou Lombardo and Robert Wolfe, so integral is it to the style, meaning, and effect of the film. Still, one should at least observe that the art and craft of film editing know no higher peaks than The Wild Bunch, and very, very few that are anywhere near its summit."[19]
Popular versions of "How Deep Is the Ocean?" in 1932 were by Guy Lombardo (vocal by Carmen Lombardo), Paul Whiteman and His Orchestra (with vocals by Jack Fulton), Rudy Vallée and Ethel Merman. Bing Crosby was another who recorded the song for Brunswick on October 14, 1932. In the 1940s Alfredo Antonini and his orchestra collaborated with Victoria Cordova and John Serry Sr. to record the song for Muzak.
New Girl, Old Story is collaborative album between the American punk rock band All and Tony Lombardo, the original bassist of All's precursor band the Descendents. Credited to "TonyAll", it consists of twelve songs written by Lombardo between 1979 and 1989. Lombardo played bass guitar on the entire album, with the members of All playing the rest of the instrumentation. Vocals were split between Lombardo and All singer Scott Reynolds, with All bassist Karl Alvarez also singing one song. Along with their 1990 album "Allroy Saves", recorded at the same time, "New Girl, Old Story" was the last album recorded by All before their relocation from Los Angeles to Brookfield, Missouri.
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 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.
From 1975–1985 Lombardo worked as a producer and director as well as an editor. Lombardo's debut as a director was Russian Roulette (1975). The film is an espionage thriller that starred George Segal. A review in New York Magazine was unfavorable; "Lou Lombardo directs uninspiredly from a far from inspiring script co-authored by Tom Ardies, the original author of the novel."[38] The film was released for home video in 1986, and has recently been reviewed more favorably.[39]
"Hide and Seek" is an exploration into lesbian adolescence in the 1960s. Lou is a 12-year-old girl who daydreams in a tree house, tries not to watch a sex education film, wins a rock throwing contest, and is horrified to discover that her best friend is taking an interest in earrings and boys. Interwoven with Lou's story are the mostly hilarious, sometimes painful recollections of adult lesbians who try to figure out how they ever got from there to here. Completing the picture are clips from a wide array of old scientific and educational films blended with the black and white images of Lou's world.
Lombardo's career began in Kansas City, where he was Robert Altman's cameraman working on training films and "industrials" for the Calvin Company.[12] Altman ultimately became a prominent feature film director. Lombardo and Altman both relocated to Los Angeles in 1956, where Lombardo was employed as a cameraman by Republic Pictures. Lombardo's goal had been to become a director, and he decided that film editing was a more promising path. Lombardo became an apprentice editor at Revue Studios, at about half the salary he'd received as an assistant cameraman. As was common at that time for studio editors, an editing apprenticeship lasted eight years, during which Lombardo's work was uncredited. At the end of this apprenticeship, Robert Altman used Lombardo to edit a pilot program for television. This led to Lombardo's becoming an editor for the television program Felony Squad, which ran from 1966–1970.[13]
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.
Lombardo decided to stay following relegation as Palace started poorly under new manager Terry Venables. A severe financial crisis and a need to cut Palace's wage bill resulted in Lombardo leaving in January 1999 to join a S.S. Lazio team managed by Sven-Göran Eriksson. In 2005, Lombardo was voted into Palace's Centenary XI, despite having only made 49 appearances for the Eagles (far fewer than any of the other ten players, showing how highly Palace fans held "The Bald Eagle").
Lou's friendship with Harold Bishop (Ian Smith) has been an important element to his characterisation. They attended the same school and Lou was Harold's "nemesis" and rival for Madge Ramsay's (Anne Charleston) affections. Oliver told David Balls of "Digital Spy" that Lou had always had a huge crush on Madge and he decides to go to Ramsay Street to steal her from Harold on their wedding day. However, Lou fails to stop the wedding and he leaves. Lou returns four years later, after Harold has disappeared and ends up living with Madge. Harold returns and he and Lou become friends. Oliver said some reviewers had likened Lou and Harold's relationship to Laurel and Hardy and "The Odd Couple". Erica Thompson of "The Courier-Mail" said Harold and Lou's friendship was one of her favourite "bromances" on television. She said their most bromantic moment was "When Harold returned to Erinsborough, after being feared drowned for many years, he had no memory of his old life. But when Lou served him jelly one night Harold suddenly remembered how Lou used to tease him at school by calling him "Jelly Belly" and, presto, his memory was restored."