By MCN Editor editor@moviecitynews.com

Social Network, Alice, TS3, Exit Get ACE Eddies

“THE SOCIAL NETWORK” WINS BEST EDITED FEATURE FILM (DRAMA)
AND “ALICE IN WONDERLAND” WINS BEST EDITED FEATURE FILM (COMEDY/MUSICAL) AT THE 61st ANNUAL ACE EDDIE AWARDS RECOGNIZING OUTSTANDING EDITING IN 2010

“EXIT THROUGH THE GIFT SHOP” TAKES TOP DOC PRIZE

“TOY STORY 3” WINS BEST EDITED ANIMATED FEATURE

CHRISTOPHER NOLAN, MICHAEL BROWN, A.C.E. AND MICHAEL KAHN, A.C.E. HONORED

EDGAR BURCKSEN, A.C.E., AND VINCET LOBRUTTO RECEIVED PRESTIGIOUS ROBERT WISE AWARD

Beverly Hills, February 19 – “The Social Network,” (edited by Angus Wall, A.C.E. & Kirk Baxter) and “Alice in Wonderland” (edited by Chris Lebenzon, A.C.E.) won Best Edited Feature Film (Drama) and Best Edited Feature Film (Comedy or Musical) respectively at the 61st Annual ACE Eddie Awards tonight where trophies were handed out in nine (9) categories of film, television and documentaries.   The black-tie ceremony was held in the International Ballroom of the Beverly Hilton Hotel with over 1,000 in attendance to celebrate the year’s best editing.  “Toy Story 3” (edited by Ken Schretzmann & Lee Unkrich, A.C.E.) won Best Edited Animated Feature Film and “Exit Through the Gift Shop”  (edited by Tom Fulford & Chris King) won Best Edited Documentary.  Television winners included “Modern Family: Family Portrait” (edited by Jonathan Schwartz) for Best Edited Half-Hour Series for Television, “The Walking Dead: Days Gone Bye” (edited by Hunter Via) for Best Edited One-Hour Series for Commercial television,  “Treme: Do You Know What it Means” (edited by Kate Sanford, A.C.E. & Alexander Hall) for Best Edited One-Hour Series for Non-Commercial Television, “Temple Grandin” (edited by Leo Trombetta, A.C.E.) for Best Edited Miniseries or Motion Picture for Television, and “If You Really Knew Me: Colusa High” (edited by Rob Goubeaux, Jeremy Gantz, Hilary Scratch, Ken Yankee, Mark S. Andrew, A.C.E., Heather Miglin, John Skaare & Paul J. Coyne) for Best Edited Reality Series.

The Student Editing Competition winner was Ruben Jacques Sebban of AFI who beat out hundreds of competitors from film schools and universities around the country.  Javier Bardem presented the honor.

Christopher Nolan received the ACE Golden Eddie Filmmaker of the Year honor presented to him by Aaron Eckhart. Lifetime Career Achievement Awards went to industry veterans Michael Brown, A.C.E. and Michael Kahn, A.C.E presented by filmmakers Joe Sargent and Steven Spielberg respectively. Their careers were highlighted with clip reels and praise from friends and colleagues during the affair. Edgar Burcksen, A.C.E., and Vincent LoBrutto received the prestigious Robert Wise Award. The evening was presided over by ACE President Randy Roberts, A.C.E. Serving as Master of Ceremonies was comic genius – Ken Jeong.

Other presenters included an all-star line up including Academy Award® nominated actress from THE FIGHTER, Amy Adams, Academy Award® nominated director of THE FIGHTER, David O. Russell, “Dexter” star Lauren Velez, “Glee” star Dot-Marie Jones, “True Blood” star Sam Tramell, star of the upcoming SPIDERMAN Tobey Maguire, three-time “Dancing With the Stars” champion Derek Hough, “Community” star Jillian Jacobs, and IRON MAN 2 star Helena Mattsson.  As is ACE’s tradition, these stars paired up with editors to present in most of the categories to give editors a moment in the spotlight and highlight the collaborative art of entertainment.

BEST EDITED FEATURE FILM (DRAMATIC):
The Social Network
Angus Wall, A.C.E. & Kirk Baxter

BEST EDITED FEATURE FILM (COMEDY OR MUSICAL):
Alice in Wonderland
Chris Lebenzon, A.C.E.

BEST EDITED ANIMATED FEATURE FILM:
Toy Story 3
Ken Schretzmann & Lee Unkrich, A.C.E.

BEST EDITED HALF-HOUR SERIES FOR TELEVISION:
Modern Family: “Family Portrait”
Jonathan Schwartz

BEST EDITED ONE-HOUR SERIES FOR COMMERCIAL TELEVISION:
The Walking Dead: “Days Gone Bye”
Hunter Via

BEST EDITED ONE-HOUR SERIES FOR NON-COMMERCIAL TELEVISION:
Treme: “Do You Know What it Means”
Kate Sanford, A.C.E. & Alexander Hall

BEST EDITED MINISERIES OR MOTION PICTURE FOR TELEVISION:
Temple Grandin
Leo Trombetta, A.C.E.

BEST EDITED DOCUMENTARY:
Exit Through the Gift Shop
Tom Fulford & Chris King

BEST EDITED REALITY SERIES:
If You Really Knew Me: “Colusa High”
Rob Goubeaux, Jeremy Gantz, Hilary Scratch, Ken Yankee, Mark S. Andrew, A.C.E., Heather Miglin, John Skaare & Paul J. Coyne

Student Competition
Ruben Jacques Sebban
A.F.I.

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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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