Dann Cahn, a pioneer of the three-camera method of filming and editing TV sitcoms, has died. Cahn also was the last surviving member of the original creative team behind the landmark series I Love Lucy. He was 89 and died Wednesday of natural causes at his home in west Los Angeles. Cahn worked on Lucy‘s entire six-season run from 1951 to 1957. Unlike series that preceded it, Lucille Ball and Desi Arnaz’s show used three motion picture cameras instead of one. The multicamera technique allowed for a show to be filmed continuously and in sequence, like a stage play. The amount of footage overwhelmed editors at the time, according to the LA Times, and they located a cutting-edge device that had been created for the quiz show Truth Or Consequences. When it was delivered to Desilu, Cahn called it a “monster” because it wouldn’t fit into the editing room so they put it in the prop room. “It was a Moviola with four heads — three for picture and one for sound,” Cahn told Editors Guild Magazine in 2006. Cahn eventually became editing supervisor at Ball and Arnaz’s production company Desilu, where he supervised editing of a slate of TV shows that included Our Miss Brooks, The Real McCoys, The Life And Legend Of Wyatt Earp, The Untouchables and several others. Cann also worked on The Beverly Hillbillies, The Fall Guy, Police Woman plus several made-for-TV movies including Bates Motel and Bud And Lou. Feature work included Beyond The Valley Of The Dolls, Zero To Sixty and Forever Darling. Cahn was the son of Philip Cahn, a film editor who co-founded the Motion Picture Editors Guild in 1937. Dann Cahn’s only survivor, Daniel, is currently president of the Guild.


Had the pleasure of meeting him not all that long ago. He contributed to an entertainment juggernaut. He’ll live forever.
Although I never personally knew Mr. Cahn, I am familiar with his son throgh our love of Great Danes. Daniel Jr. has shared with me some fantastic real life events of he and his dad. I want to give my condolances to Daniel Jr. and the family. For I so enjoyed his father through him. Rest in Peace Mr. Cahn I will alsways remember you.
R.I.P. Dann…
He was a true sitcom pioneer, and you can just imagine all the work it took to sync up all three cameras with the running soundtrack.
Today, even with the latest digital computer technology, most sitcoms are not even worthy of watching, let alone editing!
Boy, having to decide what the edit out of any “I Love Lucy” must have been a real dilemma. He was intend a master.
RIP Mr. Cahn.
Thanks to the Deadline Team for remembering that every future has a past. Thank you for this story and others like it about the people who built this cockeyed caravan.
Thank you Deadline for paying tribute to my father,Dann Cahn. A true pioneer in our industry and a supporter of the people that worked under him ! My dad loved show business but he disliked what our industry has become, but he had the distinction of helping to pioneer the best show ever !Here is a tribute from writer Peter Tonguette whom my father mentored.
Dann Cahn
1923 – 2012
By Peter Tonguette
Dann Cahn, veteran film editor and television pioneer, died on November 21 at his home in Los Angeles. He was 89.
His death was reported by his son, Daniel, who was at his bedside.
Cahn will be remembered for his involvement in the classic sitcom I Love Lucy. He worked on the iconic CBS series for each of its six seasons, from 1951 to 1957, first as editor and then as Editorial Supervisor at Desilu Productions. In the latter capacity, he oversaw numerous other series for the famed production company, including Our Miss Brooks, Make Room for Daddy, The Loretta Young Show, and many others.
In an oral history conducted by the Archive of American Television, Cahn recalled that it was immediately obvious that I Love Lucy was something new when he interviewed for the job with producer Jess Oppenheimer. A decision had been made to shoot “a multiple-camera, 35mm show, on film, in front of an audience,” he said, which necessitated a new kind of editing technology.
Cahn said, “[Film operations manager] George Fox went to them and had a Moviola made with three heads, interlocked, so that three simultaneous films, once they left the synchronized three cameras, could be run on a Moviola all at once, so that the director and the editor could pick their shots. And it had a fourth head, which was for the soundtrack.”
This Moviola was famously known as the “Three-Headed Monster,” and it helped Cahn and his colleagues apply “the rhythms and tempos of filmmaking” to the small screen, as he said in a 2012 interview in CineMontage magazine. Yet from Cahn’s perspective in the cutting room, the success of I Love Lucy had just as much to do with showcasing its cast. “The trick was, studying Desi and Lucy and Bill and Vivian, and getting into their rhythm and delivering that through the editing,” he said. “It had nothing to do with anything in the past because I had never been on anything that was so successful and so unique.”
Born on April 9, 1923, to Philip Cahn, a prolific film editor, and the former Gertrude Barsha, Daniel Richard Cahn first wanted to become an actor. As a child, he was cast in the occasional role—he appeared briefly in In the Navy, one of seven Abbott and Costello comedies edited by his father—but he quickly realized that it wasn’t to be.
“Calling Central Casting for a job and more often than not getting the curt answer, ‘Try later,’ was not what I had in mind for my life’s work,” he wrote in a 1999 article in CinemaEditor magazine. “I knew I could have a better career working behind the camera.”
His first significant editing experience was during World War II, when he served in the First Motion Picture Unit. After returning to civilian life, Cahn was an assistant editor at Republic Pictures, where he worked with Orson Welles on Macbeth. A decade later, the roles were reversed. Welles was filming a guest appearance on I Love Lucy and preparing to direct a pilot for Desilu, the Peabody Award-winning The Fountain of Youth, both of which Cahn supervised.
As Cahn recounted in my book Orson Welles Remembered, Welles exclaimed, “Well, Danny, you came a long way in 10 years!” To which the characteristically no-nonsense Cahn replied: “Yeah, I sure did.”
Academy Award-winning film editor Michael Kahn was Cahn’s office assistant at Desilu. In an interview on Wednesday, Kahn recalled, “When I met him, he was a real big shot. He was Desi’s guy and he took care of all those shows that came through Desilu—a huge amount of shows. It was just incredible. A lot of people were in awe of him because he was so youthful and yet so knowledgeable. He was a great guy.”
Cahn was the one who suggested that Kahn become an editor and get into the Motion Picture Editors Guild. Over the years, other protégés included editors Bud Molin, Harry Harris, and Ted Rich.
“It’s a long ladder when you climb a career and he put me on the first rung,” Kahn said. “He got me started on that first rung and he helped me move up… Without him, I wouldn’t be any place. I don’t know what I would do if I didn’t have Danny Cahn in my existence.”
Starting in the late ’50s, Cahn began directing episodes of Coronado 9, Shotgun Slade, and Leave It to Beaver, and others. As an editor, his later series included The Beverly Hillbillies and Police Woman, as well as numerous pilots and movies of the week. His feature films included Forever, Darling (starring Lucy and Desi) and Beyond the Valley of the Dolls. From 1982 to 1989, he was Vice President of Television Post-Production at 20th Century Fox. His final screen credit was the TV movie The Man Upstairs, one of the last projects of Katharine Hepburn.
Cahn remained active in retirement, speaking often about I Love Lucy, which he knew was the peak of his career. He was a regular guest at the Lucy-Desi Days Festival in Jamestown, New York. In 2000, he received the Career Achievement Award from the American Cinema Editors (ACE).
He was preceded in death by his wife, professional golfer Judy Baker Cahn, and a daughter, Dana, and is survived by a son, Daniel, a film editor and the current president of the Motion Picture Editors Guild.
There will be no services.
On a personal note, I was lucky enough to consider Dann a friend. I first got in touch with him in November 2004, when he was 81 and I was 21. I was a young film critic writing a book on Orson Welles. I called Dann and he regaled me with stories about the legendary director. Before we hung up, he asked if I had spoken with Robert Wise, the editor of Citizen Kane. I said I had not because I had heard that Wise (who had recently turned 90) was no longer giving interviews on a regular basis. Never mind all that—Dann said—he could get me an interview. Dann told me where to write and also what to say. I was to make a point of saying that Dann enjoys seeing Wise from time to time at Musso & Frank’s restaurant.
It worked. Not only did I interview Wise, but I got a friendship with Dann out of the deal. He also took a genuine interest in my burgeoning career. I became accustomed to coming home to messages on my answering machine, which invariably began, “This is Dann Cahn in Hollywood,” followed by suggestions for the subject of my next article for CinemaEditor or CineMontage. We would then spend hours on the phone exchanging ideas and comparing notes. He usually ended our calls with the saying, “Onward and upward with the arts.” On at least one occasion, though, he could not resist saying, “Don’t forget—I got you Wise!” That was Dann.
I only knew this cute man for a short time but fell in love with him through his wonderful son. The world is much darker without him and his antics making my day brighter. Godspeed, Dad.
True pioneer all the way…we need to remember these geniuses.
We forget them; some we toss aside. And that’s on us.
Dann Cahn was the keeper of the history of Desilu. He was always eager to talk about his work and what a truly collaborative process I Love Lucy represented. He remained a loyal friend of my mother Madelyn Pugh until her death in 2011 at age 90. Dann Cahn was an interesting person because he was truly interested in life and learning. Madelyn and Bob loved him and most of all trusted him with their work and his devotion to getting it right. Son Daniel is a chip off the old block. What a family and part of the important group of television visionaries that were just doing what they loved to do. They did laugh for a lifetime.
What an amazing man he was , I was only blessed to know and be friends with him on Facebook along with his son Daniel , the stories I’ve heard and read of his amazing life , he was a true pioneer and very talented . He will be sadly missed , he is now with all the great ones up there . God Bless you .
So very sorry to hear about Mr. Cahn’s death. I grew up with the Cahn family in Brentwood and have known his son Danny my whole life. Danny, I you are reading this, I send you my love and condolences. Such a remarkable family; a bastion in the Kenter community. No more birds
on Leonard Road.
To have my childhood friend Steve Rabineau commnent on this page is the ultimate compliment.Steve if you read this please call because I show share with you a few other things…….Danny
I had the pleasure of assisting Danny on one of John Candy’s last films “Who’s Harry Crumb” and he was such a wonderful mentor during my editorial journey in post production which ultimately led to my working as an agent repping some of the greatest editors ever! Thanks Danny! You will be missed.
If I recall correctly, the ‘moviola monster’ is on display in the Hollywood movie museum that occupies the old Max Factor building on Highland Avenue.
I didn’t get the honor of knowing Dann Cahn personally but knew him and the wonderful man he was through his son Daniel. Hearing some stories about him, his career, and his love for the business through the one that knew him best was an amazing experience. I’m so sorry for your loss Daniel. From your description and stories, as well as coming to know you tells me what a wonderful man he was. God bless.
Dann was my uncle through marriage to my father’s little sister, Judy. The first time I met him during my 1st visit to Ca. in 1963 he took us to visit Lucy and Desi on the set. We met, but I was overwhelmed by the fact that Leave It To Beaver was being filmed on the adjacent set. Dann took me by the hand and took me over to meet “the Beave “. I have never forgotten. Have fun “Big Dann “, send us some film.
Dann Cahn was a beautiful and great nice man. It was an honor working as his caregiver for two months. May he rest in peace. God Bless his soul. I’ m very sorry for your lost Dany.
I will never forget his infectious laugh, his kind heart, his wonderful wife Judy and those BIRDS they both loved and raised in the backyard. Danny was the best story teller and he loved to encourage and give advice to anyone who needed it… They both will be missed