Frank P. Keller (February 4, 1913 – December 25, 1977) was an American film and television editor with 24 feature film credits from 1958 - 1977. He is noted for the series of films he edited with director Peter Yates, for his four nominations for the Academy Award for Best Film Editing ("Oscars"), and for the "revolutionary" car chase sequence in the film Bullitt (1968) that likely won him the editing Oscar. Career From 1942–1945, during the Second World War, Keller worked with editor Norval Crutcher on cataloging the film shot by combat cameramen in Europe. In 1949, Keller was editor Al Clark's assistant on All the King's Men (1949). From 1952-1956, Keller worked as an editor with Frank Capra on the first four films of The Bell Laboratory Science Series, sponsored by the American Telephone and Telegraph Company. Their work culminated with the 1956 televising (in color) of Our Mr. Sun, which was the first film of the series. Keller later edited the seventh and eighth films in the series, Thread of Life (1960) and About Time (1962), which were produced by Owen Crump for Warner Bros. Keller's first editing credit on a feature film was for The Bonnie Parker Story (1958), which was a film noir directed by William Witney. In 1961 Keller edited Pocketful of Miracles, which was the last film directed by Frank Capra. Keller's television work included episodes from the series The Avengers (1962) and two episodes from the first season of Star Trek (1967–69). Keller is noted for editing six of the early films directed by Peter Yates, from Bullitt (1968) through Mother, Jugs & Speed (1976). His last feature film was for Rolling Thunder (directed by John Flynn-1977). Bullitt The car chase from Bullitt is likely the scene from Keller's work that is best remembered, and it has been extensively discussed over the years. Leonard Maltin has called it a "now-classic car chase, one of the screen's all-time best." Emanuel Levy wrote in 2003 that, "Bullitt contains one of the most exciting car chases in film history, a sequence that revolutionized Hollywood's standards. Chasing the hoodlums, McQueen drives up and down the hills of San Francisco, while an impressive hand-held camera records the perilous pursuit and traffic in thrilling minutia detail, as his sexy vehicle narrowly misses intersecting cars and trucks; other barriers during the chase are pedestrians, buildings, and so on." Paul