About Allan Holzman
As director and editor for producers ranging from Roger Corman to Steven Spielberg, Allan has proven himself a skilled filmmaking chameleon working in narrative and documentary, in big budget and independent, in genres from comedy to thriller, suspense to social impact issues, sci-fi to horror. His work as director and editor of Survivors Of The Holocaust received two Emmys and a Peabody. His feature documentaries Old Man River and Sounds Of Memphis, produced by the Recording Academy, earned a combined six best documentary film awards, as well as an ACE Eddie.
Allan began his editing career in the 1970s under the infamous “Roger Corman School of Filmmaking,” culminating with Roger’s space epic Battle Beyond The Stars, the subject of Allan’s recent book release, Celluloid Wars: The Making Of Battle Beyond The Stars. Packed with personal behind-the-scenes stories and content, the book is equal parts hilarious misadventure and invaluable low-budget filmmaker’s survival guide. Allan has directed five features including the darkly comedic, action-packed Forbidden World (aka Mutant), cult favorite mockumentary, Grunt! The Wrestling Movie, and Showtime’s highest rated movie, erotic thriller Intimate Stranger with Debbie Harry.
Allan taught editing at the USC School of Cinematic Arts for twelve years and served eight years on the ACE Board, creating the annual symposium of Oscar nominated editors Invisible Art/Visible Artists now in its 22nd year. Allan has held lectures and screenings on storytelling at numerous schools across the country, including AFI, NYU, UC Berkeley, USC, Chapman, and Columbia. Recently, ACE recognized Allan with a Lifetime Achievement Eddie for his contribution to the art of editing.
Each month, one of Allan’s odes to critically acclaimed editors can be seen on his new online series From The Vault, sponsored by the American Cinema Editors. Currently he is preparing the completion of his five-part series: Art of Directing, which showcases rare archival footage rescued by Allan from the early years of AFI’s Harold Lloyd Master Seminars with David Lean, Frank Capra, Alfred Hitchcock, John Huston, François Truffaut, and a very young Steven Spielberg.
“Unlike all the other art forms, film is able to seize and render the passage of time, to stop it, almost to possess it in infinity. I’d say that film is the sculpting of time.”
– Andrei Tarkovsky