American Cinema Editors

2003 | 2005 | 2006 | 2008 | 2009 | 2010

BEST EDITED FEATURE FILM (DRAMATIC)
The Hurt Locker
Bob Murawski & Chris Innis

BEST EDITED FEATURE FILM (COMEDY OR MUSICAL)
The Hangover
Debra Neil-Fisher, A.C.E.

BEST EDITED ANIMATED FEATURE FILM
UP
Kevin Nolting

BEST EDITED HALF-HOUR SERIES FOR TELEVISION
30 Rock: “Apollo Apollo”
Ken Eluto, A.C.E.

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

BEST EDITED ONE-HOUR SERIES FOR NON-COMMERCIAL TELEVISION
Dexter: “Remains to be Seen”
Louis Cioffi

BEST EDITED MINISERIES OR MOTION PICTURE FOR TELEVISION
Grey Gardens
Alan Heim, A.C.E. & Lee Percy, A.C.E.

BEST EDITED DOCUMENTARY
The Cove
Geoffrey Richman

BEST EDITED REALITY SERIES
The Deadliest Catch: Stay Focused Ordie
Kelly Coskran & Josh Earl

Nominations

BEST EDITED FEATURE FILM (DRAMATIC)
Avatar
Stephen Rivkin, A.C.E., John Refua, A.C.E. &
James Cameron, A.C.E.District 9
Julian Clarke
The Hurt Locker
Bob Murawski & Chris Innis

Star Trek
Maryann Brandon, A.C.E. & Mary Jo Markey, A.C.E.

Up in the Air
Dana Glauberman, A.C.E.

BEST EDITED FEATURE FILM (COMEDY OR MUSICAL)
500 Days of Summer
Alan Edward BellThe Hangover
Debra Neil-Fisher, A.C.E.
Julie & Julia
Richard Marks, A.C.E.

A Serious Man
Roderick Jaynes

It’s Complicated
Joe Hutshing , A.C.E. & David Moritz

BEST EDITED ANIMATED FEATURE FILM
Coraline
Christopher Murrie & Ronald SandersFantastic Mr. Fox
Andrew Weisblum
UP
Kevin Nolting

BEST EDITED HALF-HOUR SERIES FOR TELEVISION
30 Rock: “Apollo Apollo”
Ken Eluto, A.C.E.

Curb Your Enthusiasm: “The Bare Midriff”
Steven Rasch, A.C.E.

Entourage: “The Sorkin Notes”
Steven Sprung, A.C.E.

BEST EDITED ONE-HOUR SERIES FOR COMMERCIAL TELEVISION
24: “8pm-9pm”
Leon Ortiz Gil, A.C.E.Breaking Bad: “ABQ”
Lynne Willingham, A.C.E.
ER: “And in the End”
Randy Jon Morgan, A.C.E. & Jacque Toberen
Law & Order SVU: “Hardwired”
Karen Stern, A.C.E.

Lost: “The Life and Death of Jeremy Bentham”
Christopher Nelson, A.C.E.

BEST EDITED ONE-HOUR SERIES FOR NON-COMMERCIAL TELEVISION
Dexter: “Living the Dream”
Stewart Schill
Dexter: “Remains to be Seen”
Louis Cioffi

True Blood: “Hard-Hearted Hannah”
Louise Innes

BEST EDITED MINISERIES OR MOTION PICTURE FOR TELEVISION
Grey Gardens
Alan Heim, A.C.E. & Lee Percy, A.C.E.Into The Storm
John Bloom & Antonia Van DrimmelenTaking Chance
Lee Percy, A.C.E. & Brian A. Kates, A.C.E.

BEST EDITED DOCUMENTARY
The Cove
Geoffrey Richman

Food, Inc.
Kim RobertsThis Is It
Don Brochu, A.C.E.

BEST EDITED REALITY SERIES
The Deadliest Catch: Stay Focused Ordie
Kelly Coskran & Josh EarlExpedition Africa: Stanley and Livingstone
Jonathon Braun, A.C.E., Brad Ley, Sven Pape &
Molly Schock
Top Chef: The Last Supper
Annie Tighe, Alan Hoang, Adrienne Salisbury &
Kevin Leffler

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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