By MCN Editor editor@moviecitynews.com

AMERICAN CINEMA EDITORS (ACE) ANNOUNCES NOMINEES

62ND ANNUAL ACE EDDIE AWARDS RECOGNIZING THE BEST EDITING OF THE YEAR IN FILM, TELEVISION AND DOCUMENTARIES

Universal City, CA, Jan. 16 –American Cinema Editors (ACE) today announced nominations for the 62nd Annual ACE Eddie Awards recognizing outstanding editing in nine categories of film, television and documentaries. Winners will be revealed during ACE’s 62nd annual black-tie awards ceremony on Saturday, February 18, 2012 in the International Ballroom of the Beverly Hilton Hotel. As previously announced, the ceremony will be hosted by actor/comedian Patton Oswalt. Later this month ACE will announce the Golden Eddie Filmmaker of the Year honoree and two Career Achievement honorees.

NOMINEES FOR 62nd ANNUAL ACE EDDIE AWARDS

BEST EDITED FEATURE FILM (DRAMATIC):

The Descendants
Kevin Tent, A.C.E.

The Girl with the Dragon Tattoo
Angus Wall, A.C.E. & Kirk Baxter, A.C.E.

Hugo
Thelma Schoonmaker, A.C.E.

Moneyball
Christopher Tellefsen, A.C.E.

War Horse
Michael Kahn, A.C.E.

BEST EDITED FEATURE FILM (COMEDY OR MUSICAL):
The Artist
Anne-Sophie Bion & Michel Hazanavicius

Bridesmaids
William Kerr & Michael L. Sale

Midnight in Paris
Alisa Lepselter

My Week with Marilyn
Adam Recht

Young Adult
Dana E. Glauberman, A.C.E.

BEST EDITED ANIMATED FEATURE FILM:

The Adventures of Tintin
Michael Kahn, A.C.E.

Puss in Boots
Eric Dapkewicz

Rango
Craig Wood, A.C.E.

BEST EDITED HALF-HOUR SERIES FOR TELEVISION:

Curb Your Enthusiasm: “Mister Softee”
Roger Nygard

Curb Your Enthusiasm: “Palestinian Chicken”
Steven Rasch, A.C.E.

Modern Family: “Express Christmas”
Steven Rasch, A.C.E.

BEST EDITED ONE-HOUR SERIES FOR COMMERCIAL TELEVISION:

Breaking Bad: “End Times”
Kelley Dixon

Breaking Bad: “Face Off”
Skip MacDonald

Friday Night Lights: “Always”
Angela M. Catanzaro

The Good Wife: “Real Deal”
Hibah Frisina, A.C.E.

The Walking Dead: “Save the Last One”
Hunter Via, A.C.E.

BEST EDITED ONE-HOUR SERIES FOR NON-COMMERCIAL TELEVISION:

Boardwalk Empire: “To the Lost”
Tim Streeto

Game of Thrones: “Baelor”
Frances Parker, A.C.E.

Homeland: “Pilot”
Jordan Goldman, David Latham

BEST EDITED MINISERIES OR MOTION PICTURE FOR TELEVISION:

Cinema Verite
Sarah Flack, A.C.E. & Robert Pulcini


Downton Abbey, Episode 1.1
John Wilson, A.C.E.


Mildred Pierce, Part 1 

Affonso Gonçalves & Camilla Toniolo

BEST EDITED DOCUMENTARY:


Cave of Forgotten Dreams

Joe Bini & Maya Hawke

Freedom Riders
Lewis Erskine & Aljernon Tunsil

George Harrison: Living in the Material World
David Tedeschi

BEST EDITED REALITY SERIES:

Anthony Bourdain – No Reservations: “Haiti”
Eric Lasby

Beyond Scared Straight : “Chowchilla”
Rob Goubeaux, A.C.E., Paul J. Coyne, A.C.E., Heather Abell, Audrey Capotosta, Maura Corey, Jeremy Gantz & Molly Shock

Whale Wars: “Race to Save Lives”
Eric Myerson, Pete Ritchie & Josh Crockett

Final Ballots will be mailed on January 23 and voting ends on February 9. The Blue Ribbon panels where judging for all television categories and the documentary film category take place January 29. Projects in the aforementioned categories are viewed and judged by panels comprised of professional editors (all ACE members). All 600+ ACE members vote during the final balloting of the ACE Eddies, including active members, life members, affiliate members and honorary members.

The ACE Eddie Awards is considered an integral precursor to the Oscars®. No film has won Best Picture at the Oscars® without also having received at least a Best Editing nomination since ORDINARY PEOPLE in 1981. Since the ACE membership boasts a very high crossover within its membership of Academy® members, it is considered a very accurate bellwether for the eventual Oscar® outcome.

About 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 bicoastal editing festival), Invisible Art/Visible Artists (annual panel of Oscar® nominated editors), and the ACE Eddie Awards, now in its 62nd 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