The Archive is sad to hear of the death of editor Dann Cahn, who passed away on Wednesday, November 21, 2012 at the age of 89. Cahn edited I Love Lucy and several other Desilu productions, including Our Miss Brooks, The Untouchables, and The Loretta Young Show. Cahn also edited The Beverly Hillbillies, Police Woman, and Remington Steele and served as head of Post Production at Glen Larson Productions.
Below are some selections from Cann’s 1999 Archive interview:
On acting when he was a child:
I went out on another set around nineteen-thirty-seven. These Dead End Kids were the rage, and we were in for a long series of tough kid pictures. They went from being the little tough guys to the Bowery Boys at Monogram. They went on and on and on making these tough kid movies. Well, I was out on the set and the producer had quite a close relationship with my dad. He’d cut several pictures for him. nd he took a look at me – and I was the same age as the kids, or maybe a couple of years younger – and he said, “gee, Danny, you ought to be in the picture.” I looked at my dad and he said, “okay.” So I went and joined the Screen Actors Guild. I still have my card.
On watching his father edit:
I’d watch my dad work in the cutting room and I’d learn how to, well actually, by the time I was in my teens I knew how to splice film. At that point the machine to put film together was what they called a foot pedestal hot splicer. It had two pedals like your brake and clutch on an old car, and you took these blades up and you put the film in and you brought it down with film cement, which splashed all over you. It was a mess. Smelled kind of like fingernail polish, but it was much more potent. Then you had to use acetone, which is a very strong chemical, to keep the machine clean because the cement would clog it up. It was a kind of dirty job.
On how he got hired on I Love Lucy:
A young fellow stuck his head in the cutting room door from his cutting room down the hall, and his name was Bill Asher. I had known Bill from before the war – when I was an apprentice he was an assistant editor – he’s a couple of years older than me. He showed me the initial ropes of how to splice and number film. The war had come and ten years had gone by. So he said, “Danny,” he said, “I just got offered a job to cut a thing with Lucille Ball and Desi Arnaz called I Love Lucy. It’s going to be for CBS. I’m directing and cutting some very short films that I’m trying to get going, and I wrote them too, and I don’t want to take an editing job; I want to make it as a director. So I’m going to pass but I can get you an interview with the producer, who I know, uh, if you’re interested.” I said, “well, yeah, I’m looking for new connections. I’ll go if I can get the interview.” It was arranged and I went and I met Jess Oppenheimer.
On editing I Love Lucy:
Mark (Daniels) was so involved, he just said, “I’ll see you at the dailies.” I came to the show that Saturday night, the film went to the lab, came out Monday morning, and I said to Bud, “they’ve got this thing here, this multiple moviola, but I’ve never run it. I’m going to have to mark each moviola and take a guess when I make cuts, and it’s going to take time.” Al Simon, who had hired George Fox said, “well, you should try this multiple-headed moviola, and it’s going to save you time. George swears by it.” So they bring this thing over on a truck and it’s like three moviolas in a line with a sound head, and it’s in a big base. And I said, “what are we going to do with this three-headed monster?” Bud Molin, who at the time was my assistant, started to laugh, and he says, “yeah, it really is a monster.” We didn’t know where to put it. It wouldn’t fit in our tiny cutting room, where I had one moviola. So they put it in the prop room, where all the props for the show were kept, and the corner of the prop room was part of our sound stage, and that’s where we put the monster.” I had a little mini bleachers made for about four people so they could see the dailies.
On the reaction to his cut of the first episode of I Love Lucy:
The silence seemed an eternity to me. And then Lucy was sitting directly behind me. Desi didn’t open his mouth himself. And Lucy put her hands on my shoulders and she says, “Danny, it’s a good cutting job.” That broke the tension and everybody started talking. “Oh yeah, it’s going to be a hit. It’s going to be wonderful. It’s going to be fine.” They were all congratulating each other and themselves for coming up with this I Love Lucy.
On the transition of I Love Lucy to The Lucy-Desi Comedy Hour:
On editing The Beverly Hillbillies:
I did the whole year of The Beverly Hillbillies. I did what two editors had done the year before. I did it all myself, except for the Christmas show. And they promised me certain things that for reasons I won’t go into, they didn’t deliver it. They wanted me to pick it up for the third season, just the way I did. And I recommended a pal of mine, who, from the Republic days we had been assistant editors together, and his name was Bob Leeds, and I recommended him as the editor, and he signed up and took my job, which I gave to him. Some of us weren’t through cutting our competition. We were friends with it. Paul liked Bob, and the guy he picked as third year director collapsed, and Bob Leeds became the director of The Beverly Hillbillies. If I just stayed I would have been the director of The Beverly Hillbillies. That’s timing, and I missed it again.