George Folsey Jr., Film Editor and Producer on John Landis Films, Dies at 85

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As a lifelong cinephile who grew up in the magical world of Hollywood, I can say with certainty that George Folsey Jr.’s contributions to filmmaking will forever hold a special place in my heart. From working alongside legendary directors like John Landis and collaborating on timeless classics such as Animal House and The Blues Brothers, to his behind-the-scenes work on groundbreaking projects like Elvis: That’s the Way It Is, Folsey’s impact on the industry was nothing short of monumental.

What strikes me most about Folsey’s story is not just his technical prowess as an editor and producer but also the personal connections he forged with some of the biggest names in entertainment. From Judy Garland to Mickey Rooney, Lana Turner, and Esther Williams, it seems that growing up surrounded by Hollywood royalty was nothing short of a dream come true. And who could forget his swimming lesson from Esther Williams? Now, if only I could have had a swimming lesson from her too!

As a tribute to George Folsey Jr., let’s all raise a glass (or a swim cap) in honor of a true Hollywood legend. May your memories live on in the films you helped create and continue to inspire future generations of filmmakers. Rest in peace, Mr. Folsey – you will be truly missed.

George Folsey Jr., a highly respected film editor and producer who worked alongside director John Landis on movies like Animal House, The Blues Brothers, Coming to America, and the tragic Twilight Zone: The Movie, has passed away at the age of 85.

On Sunday, Folsey passed away in Los Angeles due to complications from pneumonia, as his son and fellow film editor Ryan Folsey (known for ‘Cabin Fever’ and ‘Renfield’) informed The Hollywood Reporter.

George J. Folsey, a celebrated 13-time Oscar-nominated cinematographer, was his father. Some of the films he worked on include “The Cocoanuts” (1929), “Animal Crackers” (1930), “Thousands Cheer” (1944), “Meet Me in St. Louis” (1945), “The Clock” (1945), “Green Dolphin Street” (1947), “Adam’s Rib” (1949), “Million Dollar Mermaid” (1953), “Seven Brides for Seven Brothers” (1955) and “Forbidden Planet” (1956).

George Folsey Jr. was responsible for editing several films, including Shawn Levy’s “Cheaper by the Dozen” from 2003, “The Pink Panther” released in 2006, Eli Roth’s “Hostel” in 2005, and “Hostel: Part II” from 2007.

Following the editing of Lou Adler’s first directorial venture, “Schlock” released in 1973, Terry Folsey went on to edit several films directed by Lou Adler, such as “The Kentucky Fried Movie” from 1977, “Animal House” and “The Blues Brothers”, both from 1978 and 1980 respectively, and lastly “Coming to America” in 1988. Interestingly, Folsey also produced the latter film.

Apart from that, he was involved as a producer in films such as “An American Werewolf in London” (1981), “Trading Places” (1983), the famous music video for Michael Jackson’s “Thriller” (1983), “Twilight Zone: The Movie” (1983), “Into the Night” (1985), “Spies Like Us” (1985) and “Three Amigos!” (1986).

While filming a segment for the Twilight Zone, actor Vic Morrow, aged 53, along with two child actors, My-Ca Dinh Le, 7, and Renee Chen, 6, tragically lost their lives in a helicopter accident on July 23, 1982. The accident occurred during the filming of a Vietnam War scene, which was being shot late into the night.

In May 1987, Folsey, Landis, and three other individuals were found not guilty in a trial lasting nine months, with 93 days of testimony presented as evidence.

In a recent chat with Kevin Goetz for the “Don’t Kill the Messenger” podcast, I shared my memories of the trial’s conclusion. The jury, after deliberating, held a press conference and expressed, ‘We viewed this incident as an accident, and we can’t fathom why they pursued charges for something unintentional.’

George Joseph Folsey Jr., born on January 17, 1939, in Los Angeles, was the son of Angela and a man who started as an office boy for Paramount co-founder Adolph Zukor in Astoria, Queens. Most of his career, however, was spent at MGM rather than Paramount.

In this version, I’ve aimed to maintain the same meaning while making it easier to read and understand.

Descending to see him at his filming locations was just delightful,” he mentioned. “There, I encountered Judy Garland, Mickey Rooney, Lana Turner, and Esther Williams, who I had an immense affection for. It was a marvelous part of my upbringing. He added that Williams even taught him swimming at the family pool in their Brentwood residence.

He graduated from St. Paul the Apostle, Loyola High School, and Pomona College. After that, he secured a job at KABC-TV in Los Angeles, where he edited documentaries and news segments for around five years. Subsequently, he moved on to MGM and was tasked with assisting Academy Award-winning film editor Henry Berman (known for his work on ‘Grand Prix’), who had previously collaborated with his father.

In 1967, he edited an episode of NBC’s The Monkees, as well as a documentary about figure skater Peggy Fleming in 1968 for which his father received an Emmy award. He also worked on the 1970 documentary Elvis: That’s the Way It Is. For the 1972 feature film Glass Houses, he served as a film editor, cinematographer (alongside his father), camera operator, and producer.

At the filming location, Folsey was present when Morrow and the two Vietnamese children met their unfortunate end. Later, he shared with Goetz that he drove the father of one of the boys to inform his mother about the incident, and he also delivered a tribute speech at Morrow’s funeral.

As a gamer, I’d like to share a fun fact: In the classic movie “Trading Places,” I was the one who dreamt up the title! It used to be known as “Black and White.” Besides contributing the title, I also took on the role of a second-unit director. In the film, you might spot my name when Dan Aykroyd’s character, Louis Winthorpe, hands his coat to an attendant and says, “Good morning, Folsey.” That’s me!

Among the films he was credited for producing are Jonathan Lynn’s “Clue” from 1985, Peter Bogdanovich’s “The Thing Called Love” in 1993, Howard Deutch’s “Grumpier Old Men” from 1995, and Scott Spiegel’s “Hostel: Part III” in 2011.

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His list of producing credits includes movies like Jonathan Lynn’s “Clue” (1985), Peter Bogdanovich’s “The Thing Called Love” (1993), Howard Deutch’s “Grumpier Old Men” (1995), and Scott Spiegel’s “Hostel: Part III” (2011).

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Producing credits on his resume are films such as Jonathan Lynn’s “Clue” (1985), Peter Bogdanovich’s “The Thing Called Love” (1993), Howard Deutch’s “Grumpier Old Men” (1995), and Scott Spiegel’s “Hostel: Part III” (2011).

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In the list of films he produced are titles like Jonathan Lynn’s “Clue” (1985), Peter Bogdanovich’s “The Thing Called Love” (1993), Howard Deutch’s “Grumpier Old Men” (1995), and Scott Spiegel’s “Hostel: Part III” (2011).

Goetz referred to him as a “movie troubleshooter,” and Folsey responded by saying, “The secret is, when you’re fixing a movie, many people enter thinking, ‘We’ll just sweep everything under the rug.’ But that’s definitely the worst approach because it alienates the director, the editor, everyone. They understand the film better than you… so I would aim to build relationships with them and assist them instead.

During a career spanning nearly six decades, from 1919 to his retirement in 1976, the man who received the American Society of Cinematographers’ Lifetime Achievement Award shortly before his death at age 90 in 1988, worked on approximately 160 films.

Beyond his son, Folsey also leaves behind his spouse, Belinda; daughter Erin, her husband Doug; daughter-in-law Erica; and three beloved granddaughters: Lucia, Chloe, and Hazel.

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2025-01-01 00:25