Anne V. Coates

"But I was taught, or I must have heard it somewhere, that as it became a more important job, men started to get in on it. While it was just a background job, they let the women do it. But when people realized how interesting and creative editing could be, then the men elbowed the women out of the way and kind of took over. There were some wonderful women editors who helped inspire me to go into editing in England. In a way, Ive never looked at myself as a woman in the business. Ive just looked at myself as an editor. I mean, Im sure Ive been turned down because Im a woman, but then other times Ive been used because they wanted a woman editor."

"Women are mostly mothers and directors are mostly children, so the two go very well together."

"[T]here were only certain jobs open to women. Things like hairdressing didnt really interest me. I might have been interested in photography, but women couldnt do that in those days. I found the most interesting job a woman could do, other than acting, was editing."

"Jolly, chatty and extremely competent, she is an attractive, hearty person, the sort who can work all day and still have enough energy left to enjoy the evening. Anne taught me women often make better editors than men. They have more patience."

"When I first came in I wanted to be a director and then later on I had opportunities to be a director and turned them down, because I was married to a director. I never edited for my husband. He did ask me to, but I think if youre there all day working on something, you want to be able to go home and say, "I just worked with that idiot director and guess what he did today!" You cant do that if you’re married to him."

"We had mostly pilots in the hospital, [...] and kids who had been playing with bombs they found on the ground and stuff. Pretty harroing, actually but it was intriguing for me just to be meeting other people (en) it opened my mind to communism and things like that which shocked my family."

"[Asked: "How did your famous match cut in Lawrence of Arabia — the cut from a close-up of Peter O’Toole blowing out a match to a wide shot of the sun rising over the desert — come about?"] By accident. When we were cutting Lawrence, we were working on film, and so when we were running the sequence, we saw it cut together. Nowadays using digital, you would have done a [dissolve] in the machine, and you never would have seen it cut together like it was. Almost at the same moment, David Lean and I looked at each other and said, "That’s a fabulous cut." He said, "It’s not quite perfect — take it away and make it perfect," and I literally took two frames off the outgoing shot, and thats the way it is today."

"I used to have to get my courage up to offer my ideas to David Lean, but that improved as time went on. He used to say to me, "That’s a ridiculous idea, I’ve never heard of such a thing." And I would feel awful. But then he would come up to me a day or two later and say, "You know that idea you had, its not exactly that but its close.” It was always worth putting up the ideas. Im not crushed if they dont want to use them, its a point of view."

"[On out-takes during the filming of Becket featuring Richard Burton and Peter OToole, two notoriously heavy drinkers] Oh, on the beach, they were having a real problem sitting on their horses. It’s a beautiful shot of the beach and I go from a very long shot of galloping into a big head. I had fun with it, but it was difficult. Because they were flubbing their lines, we had to shoot over two days. The clouds are there one day but not the next, and nobody notices that because the actors are so magnetic. The horses were perfectly well behaved, but it was mainly the boys who were trouble."