Michael Luciano

[3][4] Aldrich was a prolific and independent maker of popular films "who depicted corruption and evil unflinchingly, and pushed limits on violence throughout his career.

His first credit is as the editor of The Luck of Roaring Camp, a 1937 film produced by Monogram Pictures, which was a "Poverty Row" studio.

[23] The following year, Luciano's editing of The Flight of the Phoenix was nominated both for the Oscar and for the Eddie Award of the American Cinema Editors.

For about 23 years, Luciano had been a member of Aldrich's "informal repertory company", which also included cinematographer Joseph F. Biroc and composer Frank De Vol.

Aldrich's career saw the collapse of that system, but "Aldrich sought to preserve the team of collaborators — which included cinematographer Joseph Biroc, composer Frank De Vol, editor Michael Luciano, and production designer William Glasgow — with whom he'd regularly worked since his second feature, World for Ransom (1954).

[29] In addition to his editing of feature films with Aldrich and other directors, Luciano was a prolific editor of television programs in the 1950s and 1960s, with credits for episodes of Gunsmoke, Have Gun – Will Travel, The Donna Reed Show, and other series.

"[9] In their 2002 text, Robert Goodman and Patrick McGrath recommend study of Luciano's editing of The Dirty Dozen and The Longest Yard.

[32] In his study of films with sports themes, Randy Williams discusses the influence of The Longest Yard (1974): "Aldrich uses split-screen and slow motion techniques to help convey the tension and drama as the game progresses.

The real key is the pinpoint timing of Michael Luciano's editing...The Longest Yard is still one of the more influential movies in sports cinema.

Where his 1950s and 1960s work teems with hopped-up editing and Wellesian camera angles, his later films are comparatively straightforward...The filmmaking privileges content over style, pushing to the foreground the contradictions inherent in the material.