Dory Lubliner
In June 2009 I had the opportunity to correspond with Dory Lubliner who was very suprised to find himself on a Lemon Popsicle website. Although his scenes are only brief in Going Steady as one of the bikers, he also dated Naomi Golan, daughter of Menahem, shared an apartment with Zachi Noy, and later went on to edit the ADR dialogue on Baby Love.

Below are some of the recollections he was kind enough to share with me.


At the time, my days were devoted to working as a top list recording studio and performing bassist. Naomi is a very kind-hearted person who was aware of and supported my professional ambitions and championed me at every opportunity.

While my intentions towards Naomi were genuine, clearly, one of the reasons why I (an actor & musician at the start of his career) pursued a relationship with the daughter of the biggest movie producer in Israel at the time, was so that I would hopefully have first hand privileged & preferred access to an opportunity to advance my career that would potentially come up. Menahem knew I had professional experience in acting, so at some point it became obvious that I could be a good candidate for a part in the movie.

So the time came when the Going steady script was completed and approved and the production was to enter the Casting phase. I expressed to Naomi my interest in being in the movie, and she in turn asked her father on my behalf, if he could help to arrange for me to be auditioned for a part in the movie.

Menahem the producer suggested me for a part in the movie to the director, Boaz Davidson, who in turn agreed to audition me. They were in fact seeking to discover & exploit new talent, so I was told to show up at the date, time and location of where the auditions were to take place.
I vividly recall entering the building where the Noah Films offices were located on that particular occasion.

I had been to that office many times before on personal reasons, going up the stairs, walking down the long empty hallway leading to Menahem's & Yoram's respective assistants/secretarys' office and finally through a door leading to their adjoining offices. Except this time, the long empty hallway was packed with all sorts of teens patiently & quietly waiting for their turn to audition.

It was eerily quiet, per the instructions not to disturb the ongoing auditions in Menahem's office and there was an atmosphere of silent tension you could cut with a knife. Some of the teens were actors, or aspiring actors, some just kids who wanted to be in the movie and had (who knows how) managed to be granted an audition appointment. Maybe 25-35 kids in their late teens.

At times we could hear the voices through the walls, of whoever was performing an audition, then we'd see them exit the room and leave the premises, one by one with invariably various degrees of excitement or disappointment in their faces, only adding to everyone's stress.

I was typically late to arrive so I was the last one in line. I arrogantly considered myself superior to "all them amateurs" and my strategy in being the last one to audition, was meant to ensure that while the director would be tired & frustrated & want to go home already, I'd give him the performance of the century that would leave a lasting impression and make his whole day long ordeal worth while - getting me the part.

While waiting, I asked some of the kids if they had received any "sides" (a sheet describing the scene with some of the part's dialog) and was told no-one had been given any such thing. They said they were told that the audition would be improvised on the spot once each came in to face the director - which worried me a bit and made me wonder how professional this production was going to be. I also knew that the lead actor Yiftach Katzor (whom I was not acquainted with) was in there ad-libbing his part opposite each of the auditionees.

So, time went on and I was eventually left all alone in this long empty hallway, sitting on this wooden bench "biting my nails and sweating bullets" trying to keep my cool while hearing voices, laughter & strange sounds from inside the audition room.

The guy ahead of me in line exited the room and left as I sat there waiting and going nuts from the stress. As I sat there, around 4:00 or 5:00 PM, someone peaked into the hallway to see if there was anyone else left, when (s)he saw me, I was invited to go in. I immediately took on my cool laid-back persona and walked into the room.

Behind Menahem's imposing desk sat Boaz and beside him sat Tzvi Shissel, someone I knew was a close friend of Boaz, a writer/lyricist/director. They were both smiling from ear to ear and seemed to be having a good ol' time. There was also some kind of video camera pointed at the front of the room and connected to a video monitor on the desk facing the two "clowns" who were about to audition me.

I looked to my left and saw Yiftach looking at me with anticipation and a big smile, as though he could hardly wait to eat me alive. Someone handed me a pair of reading glasses ordering me to put them on which rendered me virtually blind, but it was supposed to make me look like the "class nerd" and also handed me the Tel Aviv Yellow Pages to pretend I'm holding my school-books.

Then Boaz addressed me and began to describe the premise of the scene. He said: we don't know yet what part you might fit but for now you'll play the "class nerd". In the story, Yiftach has the hots for this cute girl from school whom he's pursuing.

On that particular day, on his way home from school he walks by the apartment building where she lives, stops below the 3rd floor apartment's balcony and is getting ready to call for her.
You, however, are supposed to be a secret admirer of hers equally interested and pursuing her as well, and more-over, on the same day you also go to try to meet with her on your way home after school, and you unintentionally bump into each other in front of her building and are faced with a very awkward situation. So, please step back a few steps and on "action" start walking towards Yiftach. "ACTION!"

I start to walk towards Yiftach but looking away trying to make sure I'm not being seen by anyone, and in the process literally walk into Yiftach causing him to almost fall off his feet (Boaz & Tzvi are amused and start cracking up).

Yiftach is furious, slaps me on the head and says "Hey!, watch where you're going you stupid retard!"

I say "Ouch! - Oh!, I'm terribly sorry, I didn't see you. Are you okay?"

He says "That's because you're not looking where you're walking you imbecile. Hey, I know you, what the hell do you think you're doing here? Get the f-- outta here".

I answer "Yea, yea, you're Benji from'm just here to meet my friend Tammy..."

Yiftach: So, like...(gets closer to me, softens his voice, sneaky tone) whaddya think of her..., isn't she hot?"

Me: (Looks down embarrassed, puts one foot's toes over the other) (Boaz & Tzvi are laughing hard trying to breathe).

Yiftach: (Realizing he's dealing with "the competition", a secret admirer of the same girl he wants) So, you like her?...

Me: know...maybe a little... (more laughter from the directors)

Yiftach: (Gets aggressive) You'd better get lost and if I ever see you again around here I'll kick the crap outta you! (holds up his fist, puts his face in my face).

Me: (Gets scared, backs off, turns and starts to walk away starting to cry aloud like a baby...)

The directors' eyes are wide open and glowing with excitement, they applaud!, we both bow, I say "thank you, thank you"

Boaz says to me "you'll be in the movie, we will contact you".


About 3 weeks later, I received a phone call from the production which informed me that I'd be playing the role of "a motorcycle rider" (didn't say "one of 3 motorcycle riders") and that I was to show up at such and such place & time. I said "Great! thank you, I'll be there", not mentioning that I had never ridden a motorcycle before (since I'd surely loose the part) while confident I'd get the hang of it within a few minutes of riding the bike. Had I told them, I would have created a huge set-back for the production in the last minute, who'd then have to scramble to find someone else and reschedule the entire shooting schedule. Many heads would spin, money & time would be wasted and this would surely haunt me for the rest of my career.

When I arrived on the set, I was on the one hand disappointed to learn that I was not going to be the "only" and "main" motorcycle rider in the movie, but on the other hand, encouraged that in case I couldn't handle the motorcycle, there were 2 other bike riders I could perhaps take advantage of to hide my deficiency. As it turns out, I rode the bike just fine.

In the scenes that I had to carry the girl in tandem, I had never ridden anyone in tandem, actually let alone riding a motorcycle altogether. But I got the hang of it pretty quickly.

I remember the bike was an antique, maybe a late 1950s Ducati 250cc or so. It had been very well maintained and cared for. It was rented from its owner for the term that I was to be using it.
The problem was that once a shooting day wrapped, they didn't have anywhere to store it until the next day so, I got to ride it home and back to where we'd be shooting the next day. I enjoyed riding it. No rider's license, no helmet, no worries.

It had no lock and I didn't have a chain & padlock or anything to secure it with, so when I drove it home to Menahem's house, I'd roll it to a spot at the side of the house where it was not visible from the street. Thanks to having to ride the bike home every day after shooting, it gave me the opportunity to practice riding it.

I also remember riding it to the beach were we filmed the scene where they were skinny dipping and we stole their clothes. Once I got to the beach and put the bike on the sand, it became very difficult to ride, it only went in 1st gear, was overheating and would choke.

This photo was shot at the entrance door to the apartment of the parents of [one of the threesome], during the pajama party scene that, as the story goes, once they saw us coming they stopped the music and turned the lights off to pretend that there was no party.

I was supposed to have heard a rumor that there was going to be a party and we had decided to go and crash the party. When we showed up at the door, after the brief interrogation, once we were convinced there was no party and the guy in the white T-shirt had begun to leave, the guy in the red T-shirt grabbed me by the collar and threatened:
"You said there was a party", and I responded
"That's what I heard..."

After that, when we exited the building and were walking under the apartment's balcony making our way towards our parked bikes, is when they poured the water on us...

Regarding the photo from the scene in the bathroom/shower, with Zachi Noy trying to escape out the window while we were beating on him. You have to understand that at the time, Zachi Noy, Dror Alexander (a performing pianist), and I, were roommates sharing a 3 bedroom penthouse apartment in North Tel Aviv (at the corner of Frishman & King Solomon streets).

Because of our friendship, I could not bear to hit him as hard as was required to make the scene realistic & believable. We did a few takes with the director yelling from behind us "harder.., Harder.., HARDER!!"

In the 3rd take, the director stopped the filming, came up to me and said "You're wasting time and a lot of money, I don't care how you're gonna do it, but you must hit him really really hard like you mean it - or you'll be removed from this scene".

In the next take, I had no choice and we all really let him have it. He was truly hurting, and his back & butt became red like a tomato. The last take was good & the director was pleased and happy. This was the last scene for that day (actually, night) and Zachi left the set feeling victimized and severely demeaned, while I left with a heavy heart as I had had to do something I could not bear to have done, hurting my friend and roommate. At times, this business can get cruel & awfully mean.

Zachi, Dror and I shared that apartment, I think, for maybe about 3 years until I met Naomi Golan (Menahem Golan's middle daughter). We dated for the next 3 years. I moved-in and lived with the Golan family in their home in Afeka, a suburb of Tel Aviv.


Menahem never showed up on the set. It is common, out of respect and professionalism between 2 directors not to show one's face on the other's set.
Yoram came to the set on the last day of filming about an hour before wrap.
I was so excited to be in the movie and to have completed the job. I remember walking up to him and naively asking him to put me in their next movie. He gave me a look, like he was thrown back by how clueless I was...


Some of the crew that worked on Going Steady, were later that same year sent to West Berlin, Germany to work on The Magician of Lublin (1979) including myself now in a crew capacity, then a few months later again to W. Berlin to work on The Apple (1980).
In between the productions, I returned to Israel to my old music career & musician friends and worked as a studio musician & rock concert performer.

After The Apple is when I came to the USA to study at Berklee College of Music in Boston, while Golan/Globus were filming their first Ninja movie (Enter the Ninja) in Manila, Philippines. Naomi worked on that movie and we had already broken up.

In 1981, I moved to Los Angeles and began work as assistant editor at Cannon Films.
With Cannon being a rather small company at the time, all who worked there were close with one another.

During The Last American Virgin (1982) post production at Cannon, I met many, such as Effi Reuveni, Karen Hoenig, Ken Bornstein, Daniel Whetherbee, Michael R. Sloan, and most importantly Mark Helfrich who was 1st assistant editor but who has now become an "A" list editor and A.C.E. member having edited very big movies such as the Jackie Chan Rush Hour movies, X-Men: The Last Stand, Scary Movie, Nowhere to Run, The Last Boyscout, Action Jackson, Predator and many, many others.

I subsequently worked with Mark Helfrich as his 1st assistant editor and "right hand" on Baby Love (1984) (directed by Dan Wolman who after the filming in Israel came to Los Angeles & oversaw the editing), and on Breakin' (1984), and had great mentor/protege relations with Mark. That's how I ended up editing the ADR dialogue on Baby Love.

These productions were executed with extreme efficiency. Every scene filmed is in the movie. No scenes were dropped. If there was a scene that might not work, it would have been omitted from the script before production so that no time or money would be wasted on it.

The song that Mark Helfrich picked for the end of the movie was performed by Skeeter Davis and contained the lines "Don't you know it's the end of the world, it ended when you said good bye". The problem was that, the last verse of the song followed a modulation to a higher key, and then after the last chorus came the ending.

The scene that the song was to play over was shorter than the song so, the third verse of the song had to be cut out so that to have the ending of the song occur at the end of the scene.
However, because of the modulation, a harmonic mismatch was created when going from the second chorus straight to the ending.

This issue came up at the end of the day and Mark decided to go home for the day and try to find a solution the next day. I however, his assistant editor and having been a musician, knew how to solve that problem and decided to stay & work late into the night so that to impress and surprise my editor when he came in for work the next day. I took the record into our sound transfer room and mounted it on the record player that had a "variable speed" knob.

While playing the earlier sections of the song on the editing machine in the editing room, loudly so I can hear it in the sound transfer room, I adjusted the variable speed knob on the record player, lowering the speed until the key in the ending of the song, matched the key in the earlier section, while recording.

I then took that adjusted piece, and synchronized it to the music already edited against the film, creating a completely seemless transition and a completely natural ending to the song, timed to the end of the scene.

The next day, 1st thing in the morning, I showed my creation to Mark who was impressed and very pleased since thanks to my solution he wouldn't have to deal with this issue any further, though he didn't make as big a deal of it as I would have liked him to.


People in Israel did recognise me in the street but not only because of Going Steady. I was on TV many times and had been performing live all around the country for several years. But over there it's not like in the West - no paparazzi, people give you respect, privacy and the space to live your life.

Copyright 2009 - Lindsay Holmes/Lemon Popsicle Forever.