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AMERICAN CINEMA EDITORS (ACE) HONORS VETERAN EDITORS MICHAEL BROWN, A.C.E. AND MICHAEL KAHN, A.C.E. WITH LIFETIME CAREER ACHIEVEMENT AWARDS

Posted Monday, February 7th, 2011 - 1 Comment »
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FOR IMMEDIATE RELEASE

AWARDS TO BE PRESENTED AT THE 61st ANNUAL ACE EDDIE AWARDS ON FEBRUARY 19, 2011

Universal City, February 7, 2011 – American Cinema Editors (ACE) will honor veteran editors Michael Brown, A.C.E. and Michael Kahn, A.C.E. with the organization’s prestigious Lifetime Career Achievement Award at the 61st Annual ACE Eddie Awards on February 19, 2011 in the International Ballroom of the Beverly Hilton Hotel.

The Lifetime Career Achievement Award honors veteran editors whose body of work and reputation within the industry is outstanding.

As previously announced, the ACE Golden Eddie Filmmaker of the Year Award, recognizing a filmmaker of extraordinary vision, will go to Christopher Nolan.

All Honorees are chosen and voted on by the ACE Board of Directors.

MICHAEL BROWN, A.C.E.
Emmy Award®-winning editor Michael Brown, A.C.E., received his first editing credit on “Green Acres” in 1967. Getting his feet wet in sitcoms was a great foundation for a career that skewed slowly to the more serious side of television in shows like “Banyon” and “The Streets of San Francisco” (1972). After editing his first MOW—the pilot for MTM Enterprises’ “Three for the Road” (1975)—he began editing pilots, TV movies and mini-series along with a few theatrical features.

Michael’s talent first received notice with a 1982 Eddie Award nomination for the sweeping historical drama “The Manions of America.” A nomination for a primetime Emmy® came in 1987 for “I’ll Take Manhattan.” His first win was for the 1997 HBO original movie “Miss Evers’ Boys.” Many more nominations and wins followed for Michael—by then established as one of the most prolific film editors in the MOW format—culminating in his most famous movie, “Something the Lord Made.” Telling the story of heart surgery pioneers Alfred Blalock and Vivien Thomas, the film received an impressive 15 award nominations and 11 wins, including an Emmy and an Eddie for Michael.

Michael keeps building upon a stellar career that boasts more than 50 TV movies (including pilots), eight HBO films and 10 miniseries. Additionally, eight theatrical features and countless TV episodes of the late 1960s and early ‘70s bear his name his editorial handiwork. His six additional Eddie nominations include “Miss Evers’ Boys,” “The Long Island Incident,” “The Reagans,” “Warm Springs,” “Code Breakers” and “Bury My Heart at Wounded Knee.”  He also won the Emmy® for “Bury My Heart at Wounded Knee.”

MICHAEL KAHN, A.C.E.
Michael Kahn, A.C.E. is best known as Steven Spielberg’s lifelong editor. They first worked together on Close Encounters of the Third Kind in 1977 and have done twenty-three films together to date. The work Kahn has done with Spielberg has been recognized many times over. He is the recipient of three Academy Awards® for Best Film Editing and three ACE Eddies for Best Edited Feature Film (for Raiders of the Lost Ark, Schindler’s List and Saving Private Ryan, respectively).

He was nominated for three additional Academy Awards® (for Close Encounters of the Third Kind, Fatal Attraction and Munich) and four additional ACE Eddies (for Close Encounters of the Third Kind, Fatal Attraction, Minority Report and Munich).

Michael Kahn got his start in editing on “Hogan’s Heroes” in 1965. His first feature film assignment was George C. Scott’s, Rage (1972). In the five years betweenRage and Close Encounters of the Third Kind, Kahn edited 12 films, including the TV movie “Eleanor and Franklin,” which garnered him an ACE Eddie for Best Edited Television Special.

Other credits include: Poltergeist, Twilight Zone: The Movie, The Goonies, The Color Purple, Empire of the Sun, Empire of the Sun, Arachnophobia, Hook, Alive, Jurassic Park, Twister, Amistad, Catch Me if You Can, and most recently Pirates of the Caribbean: On Stranger Tides, War Horse and The Adventures of Tintin: The Secret of the Unicorn.
AMERICAN CINEMA EDITORS
AMERICAN CINEMA EDITORS (ACE) is an honorary society of motion picture editors founded in 1950.  Film editors are voted into membership on the basis of their professional achievements, their dedication to the education of others and their commitment to the craft of editing.

The objectives and purposes of the AMERICAN CINEMA EDITORS are to advance the art and science of the editing profession; to increase the entertainment value of motion pictures by attaining artistic pre-eminence and scientific achievement in the creative art of editing; to bring into close alliance those editors who desire to advance the prestige and dignity of the editing profession.
ACE produces several annual events including EditFest (a weekend editing festival in the summer), Invisible Art/Visible Artists (annual panel of Oscar® nominated editors), and the ACE Eddie Awards, now in its 60th year, recognizing outstanding editing in nine categories of film, television and documentaries. The organization publishes a quarterly magazine, CinemaEditor, highlighting the art, craft and business of editing and editors.

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Posted in Movie City News, Press Releases | 1 Comment »

One Response to “AMERICAN CINEMA EDITORS (ACE) HONORS VETERAN EDITORS MICHAEL BROWN, A.C.E. AND MICHAEL KAHN, A.C.E. WITH LIFETIME CAREER ACHIEVEMENT AWARDS”

  1. Proman says:
    February 7, 2011 at 5:50 pm

    Michael Kahn is the greatest editor ever.

Quote Unquotesee all »

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