American Cinema Editors

2003 | 2005 | 2006 | 2008 | 2009 | 2010

February 18 , 2007

BEST EDITED FEATURE FILM (DRAMATIC) – Tie
Babel
Stephen Mirrione, A.C.E. & Douglas Crise

The Departed
Thelma Schoonmaker, A.C.E.

BEST EDITED FEATURE FILM (COMEDY OR MUSICAL)
Dreamgirls
Virginia Katz, A.C.E.
BEST EDITED DOCUMENTARY
An Inconvenient Truth
Jay Cassidy, A.C.E. & Dan Swietlik

Nominations

BEST EDITED FEATURE FILM (DRAMATIC)
Babel
Stephen Mirrione, A.C.E. & Douglas Crise

Casino Royal
Stuart Baird, A.C.E.

The Departed
Thelma Schoonmaker, A.C.E.

The Queen
Lucia Zuccheti

United 93
Clare Douglas, Christopher Rouse, A.C.E. & Richard Pearson

BEST EDITED FEATURE FILM (COMEDY OR MUSICAL)
The Devil Wears Prada
Mark Livolsi, A.C.E.

Dreamgirls
Virginia Katz, A.C.E.

Little Miss Sunshine
Pamela Martin

Pirates of the Caribbean: Dead Man’s Chest
Craig Wood & Stephen Rivkin, A.C.E.

Thank You for Smoking
Dana Glauberman

BEST EDITED HALF-HOUR SERIES FOR TELEVISION
Entourage: “Sorry Ari”
John Corn

My Name Is Earl: “Number One”
Lance Luckey

The Office: “Casino Night”
Dean Holland & David Rogers

BEST EDITED ONE-HOUR SERIES FOR COMMERCIAL TELEVISION
24: “7pm to 8pm”
Leon Ortiz-Gil, A.C.E.

Friday Night Lights: “Pilot”
Conrad Gonzalez, A.C.E., Keith Henderson & Steve Michael

Grey’s Anatomy: “It’s the End of the World”
Edward Ornelas

BEST EDITED ONE-HOUR SERIES FOR NON-COMMERCIAL TELEVISION
Deadwood: “Tell Your God to Ready for Blood”
Stephen Mark, A.C.E.

The Sopranos: “Members Only”
Sidney Wolinsky, A.C.E.

The Wire: “Boys of Summer”
Kate Sanford

BEST EDITED MINISERIES OR MOTION PICTURE FOR COMMERCIAL TELEVISION
Lost: Live Together, Die Alone
Sue Blainey, Sarah Boyd & Stephen Semel, A.C.E.

The Path to 9/11, part two
Geoffrey Rowland, A.C.E., Eric Sears, A.C.E., Bryan Horne, David Handman,
A.C.E. & Mitchell Danton

The Ron Clark Story
Heather Persons

BEST EDITED DOCUMENTARY
An Inconvenient Truth
Jay Cassidy, A.C.E. & Dan Swietlik

Baghdad ER
Patrick McMahon, A.C.E. & Carrie Goldman

When the Levees Broke: A Requiem in Four Acts, part one
Samuel D. Pollard

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon