Assault on Precinct 13 (1976)

<h3>Post-production</h3>
<p data-rte-fromparser="true">Carpenter edited the film using the pseudonym John T. Chance, the name of <a data-rte-meta="%7B%22type%22%3A%22internal%22%2C%22text%22%3A%22John%20Wayne%22%2C%22link%22%3A%22John%20Wayne%22%2C%22wasblank%22%3Atrue%2C%22noforce%22%3Atrue%2C%22wikitext%22%3A%22%5B%5BJohn%20Wayne%5D%5D%22%7D" data-rte-instance="559-8119664015deb784041f04" href="/wiki/John_Wayne" title="John Wayne">John Wayne</a>'s character in <i>Rio Bravo</i>. <a data-rte-meta="%7B%22type%22%3A%22internal%22%2C%22text%22%3A%22Debra%20Hill%22%2C%22link%22%3A%22Debra%20Hill%22%2C%22wasblank%22%3Atrue%2C%22noforce%22%3Atrue%2C%22wikitext%22%3A%22%5B%5BDebra%20Hill%5D%5D%22%7D" data-rte-instance="559-8119664015deb784041f04" href="/wiki/Debra_Hill" title="Debra Hill">Debra Hill</a> acted as an uncredited assistant editor. According to Carpenter, the editing process was very bare bones. One mistake Carpenter was not proud of was one shot "cut out of frame," which means the cut is made within the frame so a viewer can see it. <i>Assault</i> was shot on Panavision, which takes up the entire negative, and edited on <a data-rte-meta="%7B%22type%22%3A%22internal%22%2C%22text%22%3A%22Moviola%22%2C%22link%22%3A%22Moviola%22%2C%22wasblank%22%3Atrue%2C%22noforce%22%3Atrue%2C%22wikitext%22%3A%22%5B%5BMoviola%5D%5D%22%7D" data-rte-instance="559-8119664015deb784041f04" class="new" title="Moviola (page does not exist)" rel="nofollow" data-uncrawlable-url="L3dpa2kvTW92aW9sYT9hY3Rpb249ZWRpdCZyZWRsaW5rPTE=">Moviola</a>, which cannot show the whole image, so if a cut was made improperly (i.e., frame line not lined up properly) then one would cut a half of a sprocket into the film and "cut out of frame," as happened to Carpenter. In the end, it did not matter because he said "It was so dark no one could see it, thank God!"
</p><p data-rte-fromparser="true" data-rte-empty-lines-before="1"><a data-rte-meta="%7B%22type%22%3A%22internal%22%2C%22text%22%3A%22Tommy%20Lee%20Wallace%22%2C%22link%22%3A%22Tommy%20Lee%20Wallace%22%2C%22wasblank%22%3Atrue%2C%22noforce%22%3Atrue%2C%22wikitext%22%3A%22%5B%5BTommy%20Lee%20Wallace%5D%5D%22%7D" data-rte-instance="559-8119664015deb784041f04" class="new" title="Tommy Lee Wallace (page does not exist)" rel="nofollow" data-uncrawlable-url="L3dpa2kvVG9tbXlfTGVlX1dhbGxhY2U/YWN0aW9uPWVkaXQmcmVkbGluaz0x">Tommy Lee Wallace</a>, the film's art director, spoke admirably about Carpenter during post. "[Carpenter] asked if I could cut sound effects. The answer, of course was 'Sure!' Once again, here I was, a perfectly green recruit, yet John made a leap of faith … he further insisted we get the best processing money could, which at that time was the legendary MGM color labs. Finally, he insisted we get the best postproduction sound money could buy, which was Samuel Goldwin Sound, another legend. The expense for this unorthodox apporach ate up a huge amount of the budget. The production manager fumed that we were exploiting people to pay for processing— and it was true."
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