Toby Yates, a film editor in Hollywood for 40 years and the son of Oscar-nominated director-producer Peter Yates, has died. He was 61.
Yates died Nov. 17 in Los Angeles after a stroke, his family announced.
Yates was a frequent collaborator with director Karen Moncrieff, editing her first feature, Blue Car (2002), followed by The Dead Girl (2006) and The Trials of Cate McCall (2013).
He also cut The Moon and the Stars (2007) for director John Irvin — he received a best editor prize at the Milano International Film Festival for that — and The Midnight Meat Train (2008) and No One Lives (2012) for director Ryûhei Kitamura.
Most recently, he edited Brave the Dark (2023), directed by Damian Harris.
Toby Robert Quentin Yates was born on Sept. 18, 1962, in London and raised there and in New York City. He studied filmmaking and editing while in high school, working as an apprentice editor and later assistant editor under Roy Lovejoy (2001: A Space Odyssey,...
Yates died Nov. 17 in Los Angeles after a stroke, his family announced.
Yates was a frequent collaborator with director Karen Moncrieff, editing her first feature, Blue Car (2002), followed by The Dead Girl (2006) and The Trials of Cate McCall (2013).
He also cut The Moon and the Stars (2007) for director John Irvin — he received a best editor prize at the Milano International Film Festival for that — and The Midnight Meat Train (2008) and No One Lives (2012) for director Ryûhei Kitamura.
Most recently, he edited Brave the Dark (2023), directed by Damian Harris.
Toby Robert Quentin Yates was born on Sept. 18, 1962, in London and raised there and in New York City. He studied filmmaking and editing while in high school, working as an apprentice editor and later assistant editor under Roy Lovejoy (2001: A Space Odyssey,...
- 12/29/2023
- by Mike Barnes
- The Hollywood Reporter - Movie News
Peter Yates, who has worked as a director in Hollywood since the early sixties, has passed away at age 82, Deadline reports. Yates is best known for the 1968 Steve McQueen film Bullitt , but frequently crossed genres with a lengthy list of credits that includes The Friends of Eddie Coyle , The Deep , Breaking Away , The Dresser and Krull , among many others. Beginning his career as a stage actor, Yates also spent his early career working with automobiles as both a racecar driver and a manager for Sir Stirling Moss, no doubt paving the way for the famous car chase scene in Bullitt . Married to his Producer, Virginia Pope, Yates had three children, one of whom, Toby Yates, currently works in the film industry as an editor.
- 1/10/2011
- Comingsoon.net
Deadline is reporting that four-time Oscar nominated director/producer Peter Yates (Bullitt) has passed away in London after a long illness. He was 82 years old. Yates is best known for the 1968 Steve McQueen film "Bullitt," which included one of the most harrowing car chases ever filmed, and was nominated for an Oscar for both "Breaking Away" and "The Dresser." Married to his producer, Virginia Pope, Yates had three children, one of whom, Toby Yates, was an editor on such films as "The Midnight Meat Train" and "The Dead Girl."...
- 1/10/2011
- WorstPreviews.com
UK born director Peter Yates — perhaps best known for helming Steve McQueen's iconic 1968 crime drama Bullitt, has passed away at the age of 82, reports Deadline.
Yates, who began his career as a stage actor, was also known for films such as The Friends of Eddie Coyle, The Deep, Breaking Away, The Dresser and Krull, among many others.
But it was with Bullitt that the director — who spent his early career working with automobiles as both a race car driver and a manager for Sir Stirling Moss — is perhaps best remembered. Yates' experience with automobiles made it possible for him to sit down with Steve McQueen — also an automobile racer and enthusiast — and carefully choreograph the now-famous chase sequence through the streets of San Francisco, in what is arguably (sorry Ronin fans) the greatest and most influential car chase of all time.
Yates' work on Bullitt broke new ground for cinematography,...
Yates, who began his career as a stage actor, was also known for films such as The Friends of Eddie Coyle, The Deep, Breaking Away, The Dresser and Krull, among many others.
But it was with Bullitt that the director — who spent his early career working with automobiles as both a race car driver and a manager for Sir Stirling Moss — is perhaps best remembered. Yates' experience with automobiles made it possible for him to sit down with Steve McQueen — also an automobile racer and enthusiast — and carefully choreograph the now-famous chase sequence through the streets of San Francisco, in what is arguably (sorry Ronin fans) the greatest and most influential car chase of all time.
Yates' work on Bullitt broke new ground for cinematography,...
- 1/10/2011
- CinemaSpy
FORT LAUDERDALE, Fla. -- Director Jason Freeland had the prescience to secure movie rights to a James Ellroy novel before the release of "L.A. Confidential", and the pedigree should ensure some commercial attention for this feature should it be released.
Uncommonly polished and well-made for a debut, the film is a stylish private eye caper that benefits from astute casting choices and an appropriately moody musical score. It recently had its world premiere at the Fort Lauderdale International Film Festival.
"Brown's Requiem", harking back to the days of film noir, is a typically convoluted private eye drama featuring a world-weary protagonist coping none too successfully with personal and professional demons. Fritz Brown, well-played by Michael Rooker, fits the classic mold: A former drunk and a retired member of the LAPD, he works out of a dingy office scratching out a living working as a repo man and on low-level divorce cases.
This all changes with the arrival of aptly named Fat Dog (William Sasso), an obese golf-obsessed caddie who lives outdoors on the various golf courses of L.A. Fat Dog, whipping out an alarmingly fat wad of cash, hires Brown to look after his sexy teenage sister Jane (Selma Blair), who is shacked up with an elderly businessman with Mafia ties (Harold Gould). Naturally, Brown soon finds himself the recipient of numerous beatings by various thugs and becomes embroiled in a complicated conspiracy involving, among other things, crooked cops, incest (shades of "Chinatown") and loads of illicit money.
The plot, as with most noir thrillers, is well nigh unintelligible, but the fun lies in watching director-screenwriter Jason Freeland indulge in all the classic conventions of the genre, such as the mournful trumpet solo that plays over the opening credits and the first-person narration with which the hero details his pragmatic philosophies of survival.
The film uses a wide variety of L.A. and Mexican locations to good visual effect and, more importantly, the filmmaker, in the great tradition of "The Maltese Falcon", cannily uses a large number of terrific character actors in minor roles, from indie stalwart Kevin Corrigan, as Brown's doomed friend Wally, to Brad Dourif, Brion James and Barry Newman as an assortment of low-lifes -- not to mention a cameo by Valerie Perrine.
Michael Rooker is terrific as the eternally put-upon Brown, his beat-up features and gravelly voice perfectly suited to the role. The film lags somewhat in terms of pacing, with few of the scenes playing as crisply or economically as they should. Overall "Brown's Requiem" is an auspicious debut for a filmmaker who has obviously done his cinematic homework.
BROWN'S REQUIEM
J&T Prods.
Director, screenplay: Jason Freeland
Producers: Tim Youd, David Scott Rubin
Executive producers: John McDonnell III, Marc Ezralow, Theodore : Farnsworth III
Director of photography: Seo Mutarevic
Film editor: Toby Yates
Music: Cytnia Millar
Color/stereo
Cast:
Fritz Brown: Michael Rooker
Jane: Selma Blair
Marguerita Hansen: Valerie Perrine
Solly K: Harold Gould
Stan the Man: Tobin Bell
Edwards: Brad Dourif
Cathcart: Brion James
Fat Dog: William Sasso
Walter: Kevin Corrigan
Running time -- 105 minutes
No MPAA rating...
Uncommonly polished and well-made for a debut, the film is a stylish private eye caper that benefits from astute casting choices and an appropriately moody musical score. It recently had its world premiere at the Fort Lauderdale International Film Festival.
"Brown's Requiem", harking back to the days of film noir, is a typically convoluted private eye drama featuring a world-weary protagonist coping none too successfully with personal and professional demons. Fritz Brown, well-played by Michael Rooker, fits the classic mold: A former drunk and a retired member of the LAPD, he works out of a dingy office scratching out a living working as a repo man and on low-level divorce cases.
This all changes with the arrival of aptly named Fat Dog (William Sasso), an obese golf-obsessed caddie who lives outdoors on the various golf courses of L.A. Fat Dog, whipping out an alarmingly fat wad of cash, hires Brown to look after his sexy teenage sister Jane (Selma Blair), who is shacked up with an elderly businessman with Mafia ties (Harold Gould). Naturally, Brown soon finds himself the recipient of numerous beatings by various thugs and becomes embroiled in a complicated conspiracy involving, among other things, crooked cops, incest (shades of "Chinatown") and loads of illicit money.
The plot, as with most noir thrillers, is well nigh unintelligible, but the fun lies in watching director-screenwriter Jason Freeland indulge in all the classic conventions of the genre, such as the mournful trumpet solo that plays over the opening credits and the first-person narration with which the hero details his pragmatic philosophies of survival.
The film uses a wide variety of L.A. and Mexican locations to good visual effect and, more importantly, the filmmaker, in the great tradition of "The Maltese Falcon", cannily uses a large number of terrific character actors in minor roles, from indie stalwart Kevin Corrigan, as Brown's doomed friend Wally, to Brad Dourif, Brion James and Barry Newman as an assortment of low-lifes -- not to mention a cameo by Valerie Perrine.
Michael Rooker is terrific as the eternally put-upon Brown, his beat-up features and gravelly voice perfectly suited to the role. The film lags somewhat in terms of pacing, with few of the scenes playing as crisply or economically as they should. Overall "Brown's Requiem" is an auspicious debut for a filmmaker who has obviously done his cinematic homework.
BROWN'S REQUIEM
J&T Prods.
Director, screenplay: Jason Freeland
Producers: Tim Youd, David Scott Rubin
Executive producers: John McDonnell III, Marc Ezralow, Theodore : Farnsworth III
Director of photography: Seo Mutarevic
Film editor: Toby Yates
Music: Cytnia Millar
Color/stereo
Cast:
Fritz Brown: Michael Rooker
Jane: Selma Blair
Marguerita Hansen: Valerie Perrine
Solly K: Harold Gould
Stan the Man: Tobin Bell
Edwards: Brad Dourif
Cathcart: Brion James
Fat Dog: William Sasso
Walter: Kevin Corrigan
Running time -- 105 minutes
No MPAA rating...
- 11/20/1998
- The Hollywood Reporter - Movie News
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