When Cecil B. DeMille embarked on his film career in 1913, the film editor (or “cutter”) did not exist as a discrete post. It was the director’s job. DeMille used rewinds and a magnifying glass to edit The Squaw Man. He continued in this function for four years and thirty films before delegating the task. Having done so, he allowed his editor to assemble scenes and sequences, never looking over the editor’s shoulder. DeMille would screen the footage and give the editor suggestion notes. In the studio era of the 1930s and 1940s, few directors participated in the editing process. This was the domain of the producer. DeMille was a producer-director, but he nonetheless stayed away from the editing bench.