Antony Gibbs (sometimes credited as Tony Gibbs;[a] 17 October 1925 – 26 February 2016) was an English film and television editor with more than 40 feature film credits.[2] He was a member of the American Cinema Editors (ACE).
In his 1995 book, Film and Video Editing, Roger Crittenden notes the influence of this first phase of Gibbs' editing career, "The generation of American editors of which Dede Allen is a part has given considerable credit for the inspiration of their work to Antony Gibbs, the English editor of films directed by, amongst others, Tony Richardson, Nicolas Roeg, and Richard Lester. There is a daring and energetic quality to Tony Gibbs' work, especially in some sequences of The Loneliness of the Long Distance Runner, Tom Jones, The Knack, and Performance, which must have given a shot of adrenaline to aspiring editors on both sides of the Atlantic at the time. Dede ascribes her work on Bonnie and Clyde directly to the influence of Tony Gibbs."[5][6]Bonnie and Clyde (1967) "marked a turning point in the editing of feature films that sent reverberations through the entire American cinema."[7]
Gibbs was the "supervising editor" for Richardson's 1965 film, The Loved One, that was produced in Hollywood.[4] Gibbs relocated from England to California in about 1970.[3] From 1971–1989 he had an extended collaboration with Norman Jewison that commenced with the well-received Fiddler on the Roof (1971) and ultimately extended over five films. Gibbs retired from filmmaking in 2001.
^ ab"Gibbs, Antony Biography". BFI Screenonline. British Film Institute. Archived from the original on 23 October 2010. Retrieved 14 October 2010. Based on Perkins, Roy; Stollery, Martin (2004). British Film Editors: The Heart of the Movie. British Film Institute.
^ abTaylor, Charles (30 July 2006). "Richardson's Lively Disaster: Waugh's The Loved One". The New York Observer. Archived from the original on 12 March 2008. Richardson's style changed abruptly with 1963's Tom Jones. He employed a commercialized version of French New Wave techniques, and the film was hugely popular, winning the Academy Award for Best Picture. But the jump-cutting, the straight-to-camera digressions and the generally antic tone were wildly inappropriate for an adaptation of an 18th-century novel, and the movie has by now dated to the point of being a curio.
^LoBrutto, Vincent (1991). Selected Takes: Film Editors on Editing. ABC-CLIO. p. 78. ISBN978-0-275-93395-1. LoBrutto interview of Dede Allen: Were the films you edited in the 1960s influenced by the changes in film style that were coming from Europe? There was a definite evolution in filmic style, and it came from England. The "angry young men" films that Tony Gibbs cut, Look Back in Anger and The Loneliness of the Long Distance Runner, had more direct influence on me than anything. I loved the way those pictures were cut. It was incorporated into pictures cut in New York like Bonnie and Clyde. Allen's recollection that Gibbs cut Look Back in Anger (1958) appears to be erroneous; Richard Best edited that film.
