By David Poland poland@moviecitynews.com

2008 American Cinema Editors Awards Awards





BEST EDITED FEATURE FILM (DRAMATIC)
Slumdog Millionaire
Chris Dickens

BEST EDITED FEATURE FILM (COMEDY OR MUSICAL)
WALL-E
Stephen Schaffer

BEST EDITED DOCUMENTARY
Man on Wire
Jinx Godfrey

BEST EDITED HALF-HOUR SERIES FOR TELEVISION
30 Rock “Reunion”
Meg Reticker

BEST EDITED ONE-HOUR SERIES FOR COMMERCIAL TELEVISION
Breaking Bad “Pilot”
Lynne Willingham, A.C.E.

BEST EDITED ONE-HOUR SERIES FOR NON-COMMERCIAL TELEVISION
True Blood “Strange Love”
Michael Ruscio, A.C.E. and Andy Keir

BEST EDITED MINISERIES OR MOTION PICTURE FOR
NON-COMMERCIAL TELEVISION
Recount
Alan Baumgarten, A.C.E.

BEST EDITED MINISERIES OR MOTION PICTURE FOR
COMMERCIAL TELEVISION
24 Redemption
Scott Powell, A.C.E.

BEST EDITED REALITY SERIES
Greensburg The Tornado
Leonard Feinstein and Phontaine

STUDENT EDITING COMPETITION
Junna Xiao – American Film Institute

Nominations

BEST EDITED FEATURE FILM (DRAMATIC)

The Curious Case of Benjamin Button
Angus Wall & Kirk Baxter

The Dark Knight
Lee Smith, A.C.E.

Frost/Nixon
Mike Hill, A.C.E. & Dan Hanley, A.C.E.

Milk
Elliot Graham

Slumdog Millionaire
Chris Dickens

BEST EDITED FEATURE FILM (COMEDY OR MUSICAL)
In Bruges
Jon Gregory, A.C.E.

Mamma Mia
Leslie Walker

Tropic Thunder
Greg Hayden

Vicky Cristina Barcelona
Alisa Lepselter

WALL-E
Stephen Schaffer
BEST EDITED DOCUMENTARY
Bush’s War
Steve Audette

Chicago 10
Stuart Levy, A.C.E.

Man on Wire
Jinx Godfrey

BEST EDITED HALF-HOUR SERIES FOR TELEVISION
30 Rock “Reunion”
Meg Reticker

Entourage “Playing With Fire”
Jeff Groth

The Office “Goodbye Toby”
Dean Holland & David Rogers

BEST EDITED ONE-HOUR SERIES FOR COMMERCIAL TELEVISION
Boston Legal “True Love”
Craig Bench

Breaking Bad “Pilot”
Lynne Willingham, A.C.E.

Law & Order SVU “Authority”
Karen Stern, A.C.E.

BEST EDITED ONE-HOUR SERIES FOR NON-COMMERCIAL TELEVISION
Crash “Los Muertos”
Eric Sears, A.C.E.

True Blood “Strange Love”
Michael Ruscio, A.C.E.

The Wire “More With Less”
Kate Sanford, A.C.E.

BEST EDITED MINISERIES OR MOTION PICTURE FOR NON-COMMERCIAL TELEVISION
Bernard and Doris
Andy Keir
John Adams Independence
Melanie Oliver
Recount
Alan Baumgarten, A.C.E.

BEST EDITED MINISERIES OR MOTION PICTURE FOR COMMERCIAL TELEVISION
24 Redemption
Scott Powell, A.C.E.

The Librarian Curse of the Judas Chalice
David J. Siegel, A.C.E.

Lost There’s No Place Like Home
Henk Van Eeghen, A.C.E., Robert Florio, A.C.E. Mark J. Goldman, Stephen Semel, A.C.E.

BEST EDITED REALITY SERIES
Anthony Bourdain No Reservations – New Orleans
Eric Lasby

The Deadliest Catch Fresh Blood
Kelly Coskran & Ed Greene

Greensburg The Tornado
Leonard Feinstein

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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