By Ray Pride Pride@moviecitynews.com

AMERICAN CINEMA EDITORS (ACE) HONORS VETERAN EDITORS RICHARD MARKS, A.C.E. and LARRY SILK, A.C.E. WITH LIFETIME CAREER ACHIEVEMENT AWARDS

FOR IMMEDIATE RELEASE

Universal City, February 8, 2013 – American Cinema Editors (ACE) will honor veteran editors Richard Marks, A.C.E. and Larry Silk, A.C.E. with the organization’s prestigious Lifetime Career Achievement Award at the 63rd Annual ACE Eddie Awards on February 16, 2013 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.  Award-winning filmmaker Alexander Payne and Film Critic Kenneth Turan will present to Marks and two-time Oscar®-winning Documentarian Barbara Kopple will present to Silk.  As previously announced, Steven Spielberg will receive the ACE Golden Eddie Filmmaker of the Year honor and ACE Eddie Award winners in nine categories of film, television and documentaries will be announced.  The evening’s MC will be Actor/Comedian David Cross.  Nominees were previously announced and can be viewed online at the ACE website:  americancinemaeditors.com.

RICHARD MARKS, A.C.E.

Richard Marks, A.C.E. has worked with a who’s who list of directors including Francis Ford Coppola, Elia Kazan, Sidney Lumet, Nora Ephron, Mike Nichols, Joel Schumacher, Oliver Stone, and has edited every single film edited by the legendary James L. Brooks.  Mark’s long-time collaboration with Brooks earned him three of his four Oscar® nominations for “Terms of Endearment,” “Broadcast News” and “As Good as it Gets.”  His first Oscar® nomination was for editing Francis Ford Coppola’s “Apocalypse Now,” a shared editing credit with Walter Murch, A.C.E., Gerald B. Greenburg and Lisa Fruchtman.

In addition to four Oscar® nominations, Marks has also received four ACE Eddie Award nominations for “Apocalypse Now,” “Broadcast News,” “As Good as it Gets” and, most recently, in 2010 for “Julie and Julia.”  The British Academy of Film & Television Arts (BAFTA) has honored Marks with four nominations for “The Godfather: Part II,” “Apocalypse Now” and “Dick Tracy.”   Marks was also nominated for a Primetime Emmy for editing the 74th Annual Academy Awards presentation.

His body of work is diverse and displays enduring relevancy:  “Serpico,” “The Last Tycoon,” “St. Elmo’s Fire,” “Pretty in Pink,” “Jumpin’ Jack Flash,” “Say Anything,” “Father of the Bride,” “A League of Their Own,” “Things To Do In Denver When You’re Dead,” “The Crow: City of Angels,” “You’ve Got Mail,” and “The Holiday,” are some of the titles in his impressive filmography.

LARRY SILK, A.C.E.

Larry Silk, A.C.E., edited some of the most prolific and memorable documentaries in cinematic history including  “One Survivor Remembers,” “Marjoe,” and “American Dream,” all of which won Oscars®.  Among his other credits are the 1977 hit that made Arnold Schwarzenegger a household name, “Pumping Iron,” and “Woody Allen: Wild Man Blues” which was named Best Documentary of the year by the National Board of Review and the Broadcast Film Critics Association in 1997.  Other credits include “Johnny Cash! The Man, His Music, His World,” “Stripper,” which was nominated for the Grand Jury Prize in at the 1986 Sundance Film Festival, “The Burning Wall” which examined life and dissent in East Germany from 1949-1989, and “Toots” which was named Best Documentary by the National Board of Review in 2007.

Silk spent the beginning of his career working for all the major networks, along with PBS and HBO, working on documentaries from the 1960’s to the 1980’s.  Some of those projects include “Winston Churchill: The Valiant Years,” “The Twentieth Century,” “F.D.R.,” “Childhood,” “National Geographic Explorer,” “Defending Our Daughters: The Rights of Women in the World,” “Moyers on Addiction: Close to Home” and “Fallen Champ: The Untold Story of Mike Tyson,” among others.  He also edited several episodes of the Golden Globe® award-winning series “The Equalizer.”  Now retired, Silk teaches graduate film students at NYU.

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 63rd 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.

For more information visit WWW.AMERICANCINEMAEDITORS.COM.

 

###

Be Sociable, Share!

Comments are closed.

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