Film Editor Hubert de la Bouillerie, Who Cut 'Woodstock' and 'Witches of Eastwick,' Dies at 75

Hubert de la Bouillerie, the film editor whose credits include George Miller's "The Witches of Eastwick" and additional editing on the 1970 documentary "Woodstock," died Aug. 8 in Los Angeles. He was 75.

His family confirmed the death. No cause was given.

De la Bouillerie built a four-decade career in the cutting room. He edited "Tango & Cash," the 1989 action film pairing Kurt Russell and Sylvester Stallone, and worked as an additional editor on "Highlander II: The Quickening" (1991), "Mo' Money" (1992), "Doin' Time," "Blank Check" (1994) and "Celtic Pride" (1996).

He also carried the main editing credit on two franchise sequels: "Police Academy 5: Assignment Miami Beach" (1988) and "Police Academy 6: City Under Siege" (1989).

What did he do behind the camera?

De la Bouillerie moved into directing in the 1990s. His first credited feature as director was the 1996 television film "The Right to Remain Silent," with an ensemble cast that included Lea Thompson, LL Cool J, Patrick Dempsey, Christopher Lloyd, Amanda Plummer and Carl Reiner.

He followed it with the 1997 science-fiction film "The Apocalypse."

Later in his career, he developed his own projects as a writer and producer. He was also an accomplished photographer.

As a novelist, he published "Of Love and Evil: The Birth," a gothic work weaving together history, love, mystery and the supernatural.

Who survives him?

His wife, Debbie Robins de la Bouillerie, predeceased him. Earlier in his life, he was married to Hilary Saltzman, daughter of film producer Harry Saltzman — the man who, together with Albert R. Broccoli, brought the original James Bond film series to the screen.

De la Bouillerie is survived by his two children, Jacqueline Bell and Alexandre de la Bouillerie, and by his sister Annie Goeke and siblings Caroline Gruber, Juliette Glazebrook, Diane Cottrell, Helie de la Bouillerie and Alban de la Bouillerie.

How will he be remembered?

His family described him as a storyteller at heart.

"Whether working with moving images in an editing room, directing actors, developing a screenplay, looking through the lens of his camera or putting words onto a page, he was drawn throughout his life to creativity and artistic expression," the family wrote in a statement.

The range of his credits — from a landmark concert documentary to studio blockbusters to network television — traces an editor's craft across nearly every mode of American filmmaking, and his later turn to fiction suggests the storytelling impulse outlasted the cutting room.