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38 Y^ Mr. DeMille women, with a twinkly little smile set off by bright blue eyes and pure white hair running riotously to ringlets, she spent her professional life in that most horrid of academic chambers- title cutting and editing room-and all of those years in DeMille's employ. Of the facets of the DeMille hierarchy, Anne was the most paradoxical. Who would guess, seeing this kindly, unobtrusive woman, that it was she who edited DeMille's throbbing, two- fisted movies? She is oldest in point of service among the colony's film editors, and like all good practitioners of the craft Anne suffered much mental torture in the task of tightening, mending, pruning and generally improving the narrative values of thousands of feet of film which directors like DeMille tossed into the cutting room after intense and oftentimes erratic days on the sets. Anne joined DeMille during the early period of organizational growth, a mere sprite of a girl She helped him film by day and edit by night. She recalls that the first Ten Commandments took ten years off her life. "The boss used sixteen cameras and shot enough film for ten pictures, more than 100,000 feet," Anne reduced it to 12,000, a task that can "lead you to one of three things—fame, drink or the nearest psychiatrist/' Hollywood has acknowledged her work as one of the major undisclosed reasons behind DeMille's success. At the 1940 Academy Awards Darryl Zanuck handed her an "Oscar" for her editing of Northwest Mounted Police, the first woman to receive the honor. Applying the shears to scenes that seem to limp and drag .took courage, particularly in an unpredictable and strident atmosphere. Anne learned that a shell of objectivity is a good safeguard when dealing with human nature in Hollywood, With stoic-like patience she was able to weather the storms that swept out of the bunaglow, reserving the tears after particularly hard days for the intimacy of her room. She had not one such day but many during the troubled period of The Greatest Show