Editing Margaret Booth

{{Short description|American film editor (1898–2002)}}
{{good article}}
{{other people}}
{{Use mdy dates|date=October 2013}}
{{Infobox person
| name               = Margaret Booth
| image              = Margaret Booth (film editor).jpg
| birth_date         = {{Birth date|1898|1|16|mf=yes}}
| birth_place        = [[Los Angeles, California]], U.S.
| death_date         = {{Death date and age|2002|10|28|1898|1|16|mf=yes}}
| death_place        = Los Angeles, California, U.S.
| occupation         = Film editor, producer
| relatives          = [[Elmer Booth]] (brother)
| years_active       = 1915–1985
| education          = [[Los Angeles High School]] 
}}

'''Margaret Booth''' (January 16, 1898 – October 28, 2002) was an American [[film editor]]. In a career lasting seven decades, Booth was most associated with [[Metro-Goldwyn-Mayer]] (MGM). 

Born in Los Angeles, Margaret was the younger sister of actor [[Elmer Booth]], who starred in several films for [[D. W. Griffith]]. Elmer was killed in a train accident, and Griffith later employed Margaret as a [[Negative cutting|negative cutter]]. Booth worked with Griffith's studio for several years. She later joined [[Louis B. Mayer]]'s [[Louis B. Mayer Pictures|namesake studio]], where she was mentored by film director [[John M. Stahl]]. In 1924, Mayer merged his studio with [[Metro Pictures]] and [[Goldwyn Pictures]] to form Metro-Goldwyn-Mayer (MGM). Stahl and Booth joined MGM, where she edited several of his films. Stahl later left MGM, while Booth stayed. She was named the studio's first official film editor by [[Irving Thalberg]], MGM's then-production head. In 1935, Booth received an [[Academy Award]] nomination for [[Academy Award for Best Film Editing|Best Film Editing]] on ''[[Mutiny on the Bounty (1935 film)|Mutiny on the Bounty]]''. 

After Thalberg's death, Mayer appointed Booth as the studio's supervising film editor, a position she held for nearly three decades. In 1968, Booth retired from MGM, and was hired by [[Ray Stark]] as a supervising film editor for his studio Rastar Productions. In 1977, Booth was awarded an [[Academy Honorary Award]] for her decades-long contributions as a film editor. She received her last credit as an executive producer for ''[[The Slugger's Wife]]'' (1985). Booth became a centennial in 1998, and died in 2002 at the age of 104. 

==Early life==
Margaret Booth was born on January 16, 1898, in Los Angeles to Edward J. Booth, Sr. and Margaret A. Boland.<ref>California, County Birth and Death Records, 1800–1994</ref> Her older brother was [[Elmer Booth]], who was an actor for [[D. W. Griffith]] and the breadwinner for the family. On June 16, 1915, Elmer was riding with actor [[George Siegmann]] in a car driven by [[Tod Browning]]. Due to the heavy fog that day, Browning did not see the rear lamp of an oncoming train. Browning's car was hit by a train of the [[Los Angeles and Salt Lake Railroad|Salt Lake Railroad]], killing Elmer instantly. Browning and Siegmann however survived but suffered serious injuries.<ref>{{cite magazine |url=https://archive.org/stream/movingpicturewor25newy#page/74/mode/2up |title=Elmer Booth Killed |magazine=[[Moving Picture World]] |page=75 |date=July 3, 1915 |access-date=April 1, 2024 |via=[[Internet Archive]]}}</ref> At Elmer's funeral, Griffith delivered an eulogy and approached Margaret with a job offer as a film joiner (also known as a [[negative cutting|negative cutter]]) to provide income for the family.{{sfn|Malone|2017|p=34}} Margaret never forgave Browning for her brother's death.<ref>{{cite book|title=The Monster Show: A Cultural History of Horror|author=Ska, David J.|page=[https://archive.org/details/isbn_9780571199969/page/35 35]|publisher=Macmillan|date=2001|isbn=978-0571199969|url-access=registration|url=https://archive.org/details/isbn_9780571199969/page/35}}</ref>

==Career==
===1915–1921: Editing for D. W. Griffith===
By 1915, Booth had graduated from [[Los Angeles High School]]. Griffith hired Booth on a salary for ten dollars a week as one of several female editors for his studio.{{sfn|Acker|1991|p=221}} Booth remembered years later, "...in the old days we had to cut negative by eye. We matched the print to the negative without any edge numbers. We had to match the action. Sometimes there'd be a tiny pinpoint on the negative, and then you knew you were right, but it was very tedious work."{{sfn|Brownlow|1968|p=302}}{{sfn|Malone|2017|p=35}} One of the films she worked on was ''[[Orphans of the Storm]]'' (1921) starring [[Lillian Gish]]. After a few months, Booth worked for [[Paramount Pictures]]' editing department, assembling the tinted sections for release prints.{{sfn|Brownlow|1968|p=302}}

===1921–1938: Editing at MGM===
In 1921, Booth began working for [[Louis B. Mayer]] at his [[Louis B. Mayer Pictures|namesake film production studio]].<ref name="Variety">{{cite magazine |last=Galloway |first=Douglas |url=https://variety.com/2002/scene/people-news/margaret-booth-1117875330/ |title=Obituaries: Margaret Booth |magazine=Variety |date=October 31, 2002 |access-date=April 2, 2024 |archive-url=https://web.archive.org/web/20240402214623/https://variety.com/2002/scene/people-news/margaret-booth-1117875330/ |archive-date=April 2, 2024 |url-status=live}}</ref> Mayer had hired [[John M. Stahl]] when [[Edward Small]], who was Stahl's publicity agent, inquired why there were no hired Jewish directors.{{sfn|Eyman|2005|p=56}} Inside the editing room, Booth observed Stahl, and because he was a perfectionist, Stahl would shoot multiple takes of several scenes and leave outtake footage literally on the cutting room floor. At the end of the day, Booth assembled the outtakes and stayed overnight to practice her cutting techniques. One day, Stahl was frustrated when he couldn't make a scene work. After he left, Booth took her own approach; when Stahl screened her work, he was impressed and hired her immediately as his editorial assistant.{{sfn|Malone|2017|p=35}} For Stahl, she edited ''[[The Gay Deceiver]]'' (1926), ''[[Lovers (1927 film)|Lovers?]]'' (1927), and ''[[In Old Kentucky (1927 film)|In Old Kentucky]]'' (1927).<ref name="The Guardian">{{cite news |last=Bergan |first=Ronald |url=https://www.theguardian.com/news/2002/nov/16/guardianobituaries.filmnews |title=Obituary: Margaret Booth |newspaper=[[The Guardian]] |date=November 15, 2002 |access-date=April 2, 2024 |archive-url=https://web.archive.org/web/20231015145634/https://www.theguardian.com/news/2002/nov/16/guardianobituaries.filmnews |archive-date=October 15, 2023 |url-status=live}}</ref>

Stahl personally mentored Booth on the craft of film editing, explaining the exact purpose for his editing decisions. Booth reflected, "He taught the value of a scene. When a scene drops or doesn't drop, and when it sustains. You have to feel this, intrusively, in your work."{{sfn|Acker|1991|p=221}} In 1924, Mayer merged with [[Metro Pictures]] and [[Goldwyn Pictures]] to form a new conglomerate film production studio known as [[Metro-Goldwyn-Mayer]] (MGM). Stahl stayed with MGM for several years,{{sfn|Eyman|2005|p=66}} but when he left the studio in 1927, he asked Booth to join him but she declined. Booth stated, "I went on to working at M-G-M, mostly with [Irving] [[Irving Thalberg|Thalberg]]—the greatest man who was ever in pictures. M-G-M was like home to me."{{sfn|Brownlow|1968|p=303}} Her editing skills were appreciated by Thalberg, MGM's head of production, that he asked her if she would consider directing. However, she was not interested.{{sfn|Acker|1991|p=221}} Regardless, according to film historian [[Cari Beauchamp]], Thalberg was the first known person to call cutters "film editors," starting with Booth.<ref name="LATimes">{{cite news|last=Luther|first=Claudia|url=https://www.latimes.com/archives/la-xpm-2002-oct-31-me-booth31-story.html |title=Margaret Booth, 104; Film Editor Had 70-Year Career|newspaper=[[Los Angeles Times]] |date=October 31, 2002 |access-date=October 15, 2019|archive-url=https://web.archive.org/web/20231202110701/https://www.latimes.com/archives/la-xpm-2002-oct-31-me-booth31-story.html|archive-date=December 2, 2023|url-status=live}}</ref> Her first official editing credit was for the 1929 [[part-talkie]] film ''[[The Bridge of San Luis Rey (1929 film)|The Bridge of San Luis Rey]]''.<ref>{{cite news |url=https://www.nytimes.com/2002/11/02/arts/margaret-booth-film-editor-104.html |title=Margaret Booth, Film Editor, 104 |page=B4 |agency=Associated Press |work=The New York Times |date=November 2, 2002 |access-date=April 2, 2024 |archive-url=https://web.archive.org/web/20220412005744/https://www.nytimes.com/2002/11/02/arts/margaret-booth-film-editor-104.html |archive-date=April 12, 2022 |url-status=live}}</ref>{{sfn|Menuel|2016|p=61}} 

At MGM, Booth edited several films starring [[Greta Garbo]], including ''[[Camille (1936 film)|Camille]]'' (1936). She also edited ''[[Wise Girls (1929 film)|Wise Girls]]'' (1929), ''[[The Barretts of Wimpole Street (1934 film)|The Barretts of Wimpole Street]]'' (1934), and ''[[Romeo and Juliet (1936 film)|Romeo and Juliet]]'' (1936).{{sfn|Unterberger|1998|p=43}} Booth received her only competitive [[Academy Award]] nomination for [[Academy Award for Best Film Editing|Best Film Editing]] on ''[[Mutiny on the Bounty (1935 film)|Mutiny on the Bounty]]'' (1935).{{sfn|Unterberger|1998|p=43}}

===1939–1968: Supervising editor of MGM===
In 1936, Thalberg had unexpectedly died and Mayer assumed the position as production head. Three years later, in 1939, Mayer appointed Booth to be the studio's supervising film editor.{{sfn|Unterberger|1998|p=43}} Booth stated, "They liked me because I was fast. I was always very fast cutting everything I did. And boy, was I tough."{{sfn|Acker|1991|p=221}} As the supervising editor, she did no actual film editing herself but instead hired the personnel and reviewed the [[dailies]] for each film, overseeing classics such as ''[[The Wizard of Oz]]'' (1939) and ''[[Ben-Hur (1959 film)|Ben-Hur]]'' (1959).{{sfn|Unterberger|1998|p=43}}{{sfn|Malone|2017|p=36}} In his 1995 book ''Making Movies'', director [[Sidney Lumet]] called Booth "a remarkable person. She was bright and tireless, and she loved movies. I don't know if she had any other life."{{sfn|Lumet|1995|p=151}} He told one story while filming ''[[The Hill (1965 film)|The Hill]]'' (1965) in England, in which she arrived on location and asked to see a rough-cut version, promptly at eight during the following morning. A screening was arranged for her, with Lumet and [[Thelma Connell]], the editor for ''The Hill'', present. When the screening was over, she asked for two minutes of the film to be cut so it would be under two hours. Lumet pushed back and after two more screenings, Booth relented. Following the third screening, Lumet consoled a despondent Booth, who personally felt none of the new studio executives knew or care about filmmaking.{{sfn|Lumet|1995|pp=152–154}} She remained in her position until she retired in 1968.{{sfn|Unterberger|1998|p=43}}<ref>{{cite web |last=Hatch |first=Kirsten |url=https://wfpp.columbia.edu/pioneer/margaret-booth-2/ |title=Margaret Booth |website=Women Film Pioneers Project |year=2013 |location=New York |publisher=[[Columbia University Libraries]] |doi=10.7916/d8-ps4e-hw86 |archive-url=https://web.archive.org/web/20240402222014/https://wfpp.columbia.edu/pioneer/margaret-booth-2/ |archive-date=April 2, 2024 |url-status=live}}</ref> Booth said she left MGM after being fired by James Aubrey.<ref>Behlmer pp 93-94</ref>

In its 1982 article about Booth's long tenureship, the ''[[Village Voice]]'' describes her as "the final authority of every picture the studio made for 30 years."<ref>{{cite magazine |last=Rafferty |first=Terrance |author-link=Terrence Rafferty |title=His Girl Friday |magazine=Village Voice |date=November 30, 1982 |page=83}}</ref>

===1969–1985: Editing for Ray Stark===
After leaving MGM, Booth was hired by [[Ray Stark]] as the supervising editor for his company, Rastar Productions. She says he hired her the night she was fired from MGM going straight into working on ''The Owl and the Pussycat''.<ref>Behlmer p 95</ref>

Booth supervised the editing for several films, including ''[[The Way We Were]]'' (1973), ''[[The Sunshine Boys (1975 film)|The Sunshine Boys]]'' (1975), ''[[The Goodbye Girl]]'' (1977), ''[[California Suite (film)|California Suite]]'' (1978), and ''[[Annie (1982 film)|Annie]]'' (1982).<ref name="The Guardian" /> She was last credited as an executive producer for ''[[The Slugger's Wife]]'' (1985) when she was 87.{{sfn|Unterberger|1998|p=43}}

In 1977, Booth was awarded an [[Academy Honorary Award]] denoting her for "62 years of exceptionally distinguished service to the motion picture industry as a film editor."{{sfn|Unterberger|1998|p=43}} In 1983, she was awarded the [[Women in Film Los Angeles|Women in Film]] [[Women in Film Crystal + Lucy Awards#THE CRYSTAL AWARD|Crystal Award]] for outstanding women who, through their endurance and the excellence of their work, have helped to expand the role of women within the entertainment industry.<ref>{{cite web|url=http://wif.org/past-recipients |title=Past Recipients |website=Women in Film Awards |access-date=2011-05-10 |url-status=dead |archive-url=https://web.archive.org/web/20110830035734/http://www.wif.org/past-recipients |archive-date=August 30, 2011}}</ref> On her centennial birthday, in 1998, Booth was honored with a gala commemorating her seven-decade contributions to the film industry at the Sheraton Universal Hotel, hosted by the [[Motion Picture Editors Guild]].<ref>{{cite news |last=Viera |first=Lauren |url=https://www.latimes.com/archives/la-xpm-1998-jan-15-ca-8359-story.html |title=Legendary Editor Gets Time in the Spotlight |newspaper=Los Angeles Times |date=January 15, 1998 |access-date=April 2, 2024 |archive-url=https://web.archive.org/web/20150710024158/http://articles.latimes.com/1998/jan/15/entertainment/ca-8359 |archive-date=July 10, 2015 |url-status=live}}</ref>

==Death and legacy==
On October 28, 2002, Booth, at age 104, died from complications after suffering a [[Cerebral hemmorage|stroke]]. She is interred at Inglewood Park Cemetery in Inglewood California.<ref name="LATimes" /> In their obituary for Booth, the British newspaper ''[[The Guardian]]'' stated, "All the filmmakers had to go through her in order to have a final editing of sound and vision approved," while describing her approach:{{quote|She was a pioneer of the classic editing style, the so-called "invisible cutting", the aim of which was to make the transition from one image to another as seamless as possible, so the audience was almost unaware of the flow of shots within a sequence. Narrative was dominant, maintaining a continuity of time and space, and matching cuts to action.<ref name="The Guardian" />}}

==Filmography==
{| class="wikitable"
|- style="background:#ccc; text-align:center;"
! Year
! Title
! Director
! Notes
! Refs
|-
| 1921 
| ''[[Orphans of the Storm]]'' 
| [[D. W. Griffith]]
| Cutter<br>Uncredited
| {{sfn|Brownlow|1968|p=302}}
|-
| rowspan="2" | 1924 
| ''[[Why Men Leave Home (film)|Why Men Leave Home]]'' 
| rowspan="5"| [[John M. Stahl]]
| rowspan="5"|Co-editor<br>Collaborated with Stahl
| {{sfn|Unterberger|1998|p=42}}
|-
| ''[[Husbands and Lovers]]'' 
|{{sfn|Unterberger|1998|p=42}}
|-
| 1925
| ''[[Fine Clothes]]''
| {{sfn|Unterberger|1998|p=42}}
|-
| rowspan="2" |1926
| ''[[Memory Lane (1926 film)|Memory Lane]]'' 
| {{sfn|Unterberger|1998|p=42}}
|- 
| ''[[The Gay Deceiver]]''
| {{sfn|Unterberger|1998|p=42}}
|-
| rowspan="3" | 1927
| ''[[The Enemy (1927 film)|The Enemy]]''
| [[Fred Niblo]]
| Editor
| {{sfn|Unterberger|1998|p=42}}
|-
| ''[[Lovers (1927 film)|Lovers?]]''
| rowspan="2"|John M. Stahl
| Editor
| {{sfn|Unterberger|1998|p=42}}
|-
| ''[[In Old Kentucky (1927 film)|In Old Kentucky]]''
| Editor
| {{sfn|Unterberger|1998|p=42}}
|-
| rowspan="4" | 1928 
| ''[[Bringing Up Father (1928 film)|Bringing Up Father]]''
| [[Jack Conway (filmmaker)|Jack Conway]]
| Editor
| {{sfn|Unterberger|1998|p=42}}
|-
| ''[[Telling the World (film)|Telling the World]]''
| [[Sam Wood]]
| Editor<br>Collaborated with [[John Colton (screenwriter)|John Colton]]
| {{sfn|Unterberger|1998|p=42}}
|-
| ''[[The Mysterious Lady]]''
| Fred Niblo
| Editor
| {{sfn|Unterberger|1998|p=42}}
|-
| ''[[A Lady of Chance]]''
| [[Robert Z. Leonard]]
| Editor
| {{sfn|Unterberger|1998|p=42}}
|-
| rowspan="2"| 1929
| ''[[The Bridge of San Luis Rey (1929 film)|The Bridge of San Luis Rey]]''
| [[Charles Brabin]]
| Editor 
| {{sfn|Unterberger|1998|p=42}}
|- 
| ''[[Wise Girls (film)|Wise Girls]]''
| [[E. Mason Hopper]]
| Editor<br>Screenwriter
| {{sfn|Unterberger|1998|p=42}}
|-
| rowspan="5"| 1930 
| ''[[The Rogue Song]]''
| [[Lionel Barrymore]]
| Editor 
| {{sfn|Unterberger|1998|p=42}}
|-
| ''[[Redemption (1930 film)|Redemption]]''
| Fred Niblo 
| Editor 
| {{sfn|Unterberger|1998|p=42}}
|-
| ''[[Strictly Unconventional]]''
| [[David Burton (director)|David Burton]]
| Editor
| {{sfn|Unterberger|1998|p=42}}
|-
| ''[[The Lady of Scandal]]''
| rowspan="2" |[[Sidney Franklin (director)|Sidney Franklin]] 
| Editor
| {{sfn|Unterberger|1998|p=42}}
|-
| ''[[A Lady's Morals]]''
| Editor
| {{sfn|Unterberger|1998|p=42}}
|-
| rowspan="6"| 1931 
| ''[[New Moon (1930 film)|New Moon]]''
| Jack Conway
| Editor 
| {{sfn|Unterberger|1998|p=43}}
|- 
| ''[[The Prodigal (1931 film)|The Prodigal]]''
| [[Harry A. Pollard]]
| Editor 
| {{sfn|Unterberger|1998|p=43}}
|-
| ''[[It's a Wise Child (film)|It's a Wise Child]]''
| Robert Z. Leonard
| Editor
| {{sfn|Unterberger|1998|p=43}}
|- 
| ''[[The Cuban Love Song]]'' 
| [[W. S. Van Dyke]]
| Editor 
| {{sfn|Unterberger|1998|p=43}}
|- 
| ''[[Five and Ten (1931 film)|Five and Ten]]''
| rowspan="3"| Robert Z. Leonard 
| Editor 
| {{sfn|Unterberger|1998|p=43}}
|-
| ''[[Susan Lenox (Her Fall and Rise)]]''
| Editor
| {{sfn|Unterberger|1998|p=43}}
|-
| rowspan="4"| 1932 
| ''[[Lovers Courageous]]''
| Editor 
| {{sfn|Unterberger|1998|p=43}}
|- 
| ''[[Smilin' Through (1932 film)|Smilin' Through]]''
| Sidney Franklin 
| Editor 
| {{sfn|Unterberger|1998|p=43}}
|- 
| ''[[Strange Interlude (1932 film)|Strange Interlude]]'' 
| Robert Z. Leonard 
| Editor 
| {{sfn|Unterberger|1998|p=43}}
|-
| ''[[The Son-Daughter]]''
| [[Clarence Brown]]
| Editor 
| {{sfn|Unterberger|1998|p=43}}
|-
| rowspan="5"| 1933
| ''[[The White Sister (1933 film)|White Sister]]'' 
| [[Victor Fleming]]
| Editor 
| {{sfn|Unterberger|1998|p=43}}
|- 
| ''[[Peg o' My Heart (1933 film)|Peg o' My Heart]]'' 
| Robert Z. Leonard 
| Editor 
| {{sfn|Unterberger|1998|p=43}}
|-
| ''[[Storm at Daybreak]]'' 
| [[Richard Boleslawski]]
| Editor 
| {{sfn|Unterberger|1998|p=43}}
|- 
| ''[[Bombshell (1933 film)|Bombshell]]''
| Victor Fleming 
| Editor 
| {{sfn|Unterberger|1998|p=43}}
|- 
| ''[[Dancing Lady]]'' 
| Robert Z. Leonard 
| Editor 
| {{sfn|Unterberger|1998|p=43}}
|- 
| rowspan="2"| 1934 
| ''[[Riptide (1934 film)|Riptide]]''
| [[Edmund Goulding]]
| Editor
| {{sfn|Unterberger|1998|p=43}}
|-
| ''[[The Barretts of Wimpole Street (1934 film)|The Barretts of Wimpole Street]]''
| Sidney Franklin
| Editor 
| {{sfn|Unterberger|1998|p=43}}
|-
| rowspan="2" | 1935
| ''[[Reckless (1935 film)|Reckless]]''
| Victor Fleming 
| Editor 
| {{sfn|Unterberger|1998|p=43}}
|-
| ''[[Mutiny on the Bounty (1935 film)|Mutiny on the Bounty]]'' 
| [[Frank Lloyd]]
| Editor<br>Nominated for an [[Academy Award for Best Film Editing]]
| {{sfn|Unterberger|1998|p=43}}
|-
| rowspan="2"| 1936
| ''[[Camille (1936 film)|Camille]]'' 
| rowspan="2"|[[George Cukor]]
| Editor
| {{sfn|Unterberger|1998|p=43}}
|-
| ''[[Romeo and Juliet (1936 film)|Romeo and Juliet]]''
| Editor
| {{sfn|Unterberger|1998|p=43}}
|- 
| 1938 
| ''[[A Yank at Oxford]]'' 
| Jack Conway
| Editorial Supervisor
| {{sfn|Unterberger|1998|p=43}}
|- 
| 1963 
| ''[[The V.I.P.s (film)|The V.I.P.s]]''
| [[Anthony Asquith]]
| Production advisor 
| {{sfn|Unterberger|1998|p=43}}
|-
| 1970 
| ''[[The Owl and the Pussycat (film)|The Owl and the Pussycat]]'' 
| [[Herbert Ross]] 
| Editorial Supervisor
| {{sfn|Unterberger|1998|p=43}}
|-
| 1972 
| ''[[Fat City (film)|Fat City]]''
| [[John Huston]]
| Editorial Supervisor 
| {{sfn|Unterberger|1998|p=43}}
|- 
| 1973 
| ''[[The Way We Were]]''
| [[Sydney Pollock]]
| Editorial Supervisor
| {{sfn|Unterberger|1998|p=43}}
|- 
| rowspan="2"| 1975
| ''[[The Sunshine Boys (1975 film)|The Sunshine Boys]]''
| Herbert Ross
| Editorial Supervisor 
| {{sfn|Unterberger|1998|p=43}}
|- 
| ''[[The Black Bird]]'' 
| [[David Giler]]
| Editorial Supervisor 
| {{sfn|Unterberger|1998|p=43}}
|- 
| 1976
| ''[[Murder by Death]]'' 
| [[Robert Moore (director)|Robert Moore]]
| Editorial Supervisor
| {{sfn|Unterberger|1998|p=43}}
|- 
| 1977
| ''[[The Goodbye Girl]]'' 
| rowspan="2"| Herbert Ross
| Editorial Supervisor 
| {{sfn|Unterberger|1998|p=43}}
|-
| rowspan="3"| 1978
| ''[[California Suite (film)|California Suite]]''
| Editorial Supervisor
| {{sfn|Unterberger|1998|p=43}}
|-
| ''[[The Cheap Detective]]'' 
| rowspan="2"| Robert Moore
| Associate producer
| {{sfn|Unterberger|1998|p=43}}
|-
| ''[[Chapter Two (film)|Chapter Two]]''
| Editorial Supervisor<br>Associate producer
| {{sfn|Unterberger|1998|p=43}}
|- 
| 1980
| ''[[Seems Like Old Times (film)|Seems Like Old Times]]''
| [[Jay Sandrich]]
| Editorial Supervisor<br>Associate producer
| {{sfn|Unterberger|1998|p=43}}
|-
| rowspan="2"| 1982
| ''[[The Toy (1982 film)|The Toy]]''
| [[Richard Donner]]
| Associate producer
| {{sfn|Unterberger|1998|p=43}}
|- 
| ''[[Annie (1982 film)|Annie]]'' 
| John Huston
| Associate producer
| {{sfn|Unterberger|1998|p=43}}
|- 
| 1985 
| ''[[The Slugger's Wife]]''
| [[Hal Ashby]] 
| Executive producer
| {{sfn|Unterberger|1998|p=43}}
|}

==See also==
{{Portal|Biography}}
* [[List of centenarians (actors, filmmakers and entertainers)]]

==References==
{{Reflist}}

==Works cited==
* {{cite book |last=Acker |first=Ally |author-link=Ally Acker |title=Reel Women: Pioneers of the Cinema, 1896 to the Present |url=https://archive.org/details/reelwomenpioneer00acke/ |year=1991 |location=New York |publisher=[[Continuum International Publishing Group|Continuum Publishing]] |isbn=978-0-8264-0499-2 |url-access=registration}}
*{{cite book|first=Rudy|last=Behlmer|title=An oral history with Margaret Booth|date=1991|publisher=Academy Foundation}}
* {{cite book |last=Brownlow |first=Kevin |author-link=Kevin Brownlow |title=The Parade's Gone By |url=https://archive.org/details/paradesgoneby00brow/ |year=1968 |location=New York |publisher=[[Alfred A. Knopf]] |isbn=978-0-5200-3068-8 |url-access=registration}}
* {{cite book |last=Eyman |first=Scott |author-link=Scott Eyman |title=Lion of Hollywood: The Life and Legend of Louis B. Mayer |location=New York |publisher=[[Simon & Schuster]] |year=2005 |isbn=0-7432-0481-6 |url=https://archive.org/details/lionofhollywoodl00eyma |url-access=registration}}
* {{cite book |last=Lumet |first=Sidney |title=Making Movies |url=https://archive.org/details/makingmovies00lume/ |location=New York |publisher=Alfred A. Knopf |year=1995 |isbn=0-679-43709-6 |url-access=registration}}
* {{cite book |last=Malone |first=Alicia |author-link=Alicia Malone |title=Backwards and in Heels: The Past, Present and Future of Women Working in Film |url=https://books.google.com/books?id=gpUREAAAQBAJ |year=2017 |location=[[Coral Gables, Florida]] |publisher=[[Mango Publishing]] |isbn=978-1-6335-3618-0}} 
* {{cite book |last=Menuel |first=David |title=Women Film Editors: Unseen Artists of American Cinema |url=https://books.google.com/books?id=XkwzDAAAQBAJ |year=2016 |location=Jefferson, North Carolina |publisher=[[McFarland & Company]] |isbn=978-1-476-62520-1}}
* {{cite book |editor-last=Unterberger |editor-first=Amy L. |title=Women Filmmakers & Their Films |url=https://archive.org/details/womenfilmmakerst0000unse/ |year=1998 |location=[[Detroit]] |publisher=[[St. James Press]] |isbn=978-1-5586-2357-6 |url-access=registration}}

==External links==
*{{IMDb name|0004290|Margaret Booth}}
*{{Find a Grave|6903461}}
*[http://www.virtual-history.com/movie/person/12455/margaret-booth Literature on Margaret Booth]
* {{cite book |last=Booth |first=Margaret |chapter-url=https://womenfilmeditors.princeton.edu/assets/pdfs/BOOTH_The_Cutter_Watts.pdf |chapter=The Cutter |title=Behind the Screen: How Films Are Made |editor-last=Watts |editor-first=Stephen |year=1938 |location=London |publisher=[[Weidenfeld & Nicolson|Arthur Barker Limited]] |pages=147–151}}
*{{cite magazine |last=Lewis |first=Kevin |url=http://www.editorsguild.com/v2/magazine/archives/0306/cover_story.htm |title=The Moviola Mavens and the Moguls: Three Pioneering Women Editors Who Had the Respect of Early Hollywood's Power-Brokers |archive-url=https://web.archive.org/web/20080612092616/http://www.editorsguild.com/v2/magazine/archives/0306/cover_story.htm |magazine=Editors Guild Magazine |volume=27 |issue=2 |date=March–April 2006 |archive-date=2008-06-12 |url-status=dead}} 

{{Academy Honorary Award}}
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{{DEFAULTSORT:Booth, Margaret}}
[[Category:1898 births]]
[[Category:2002 deaths]]
[[Category:20th-century American women]]
[[Category:21st-century American women]]
[[Category:Academy Honorary Award recipients]]
[[Category:Agnes Scott College people]]
[[Category:American women centenarians]]
[[Category:American film editors]]
[[Category:American women film editors]]
[[Category:American women film producers]]
[[Category:Burials at Inglewood Park Cemetery]]
[[Category:Film producers from California]]
[[Category:Film people from Los Angeles]]
[[Category:Los Angeles High School alumni]]
[[Category:Women film pioneers]]