By Ray Pride Pride@moviecitynews.com

“ARGO,” “THE SILVER LININGS PLAYBOOK” AND “BRAVE” WIN BIG AT THE 63RD ANNUAL ACE EDDIE AWARDS RECOGNIZING OUTSTANDING EDITING IN 2012

 

“BREAKING BAD,” “NURSE JACKIE” AND “THE NEWSROOM” TOP TELEVISION WINNERS

 

“SEARCHING FOR SUGAR MAN” TAKES FILM DOC PRIZE

AND IN A BRAND NEW CATEGORY THIS YEAR “AMERICAN MASTERS – PHIL OCHS: THERE BUT FOR FORTUNE” WINS BEST EDITED DOCUMENTARY (TELEVISION)

 

STEVEN SPIELBERG, RICHARD MARKS, A.C.E. AND LARRY SILK, A.C.E. RECEIVE SPECIAL HONORS

 

Beverly Hills, February 16 – “Argo” (edited by William Goldenberg, A.C.E.) and “The Silver Linings Playbook” (edited by Jay Cassidy, A.C.E. and Crispin Struthers) won Best Edited Feature Film (Dramatic) and Best Edited Feature Film (Comedy/Musical) respectively at the 63rdAnnual ACE Eddie Awards tonight where trophies were handed out in ten (10) 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.   “Brave” (edited by Nicholas C. Smith, A.C.E. & Robert Grahamjones, A.C.E.) won Best Edited Animated Feature Film and “Searching For Sugar Man”  (edited by Malik Bendjelloul) won Best Edited Documentary (Feature).

 

Television winners included ”Nurse Jackie – Handle Your Scandle” (edited by Gary Levy) for Best Edited Half-Hour Series for Television, “Breaking Bad – Dead Freight” (edited by Skip MacDonald, A.C.E.) for Best Edited One-Hour Series for Commercial television,  “The Newsroom – We Just Decided To (Pilot)” (edited by Anne McCabe, A.C.E.) for Best Edited One-Hour Series for Non-Commercial Television, “Hemingway & Gellhorn” (edited by Walter Murch, A.C.E.) for Best Edited Miniseries or Motion Picture for Television, and “Frozen Planet – Ends of the Earth” (edited by Andy Netley & Sharon Gillooly) for Best Edited Non-Scripted Series.  In a newly created category this year, “American Masters – Phil Ochs: There But For Fortune” (edited by Pamela Scott Arnold) won Best Edited Documentary (Television).

 

The Student Editing Competition winner was Michael Smith of American Film Institute who beat out hundreds of competitors from film schools and universities around the country.  Oscar® winning actor Jon Voight presented the ACE Eddie Award to the winner.

 

The legendary Steven Spielberg received the ACE Golden Eddie Filmmaker of the Year honor presented to him by longtime collaborator and friend Kathleen Kennedy.  Mr. Spielberg joins an impressive list of filmmakers to receive ACE’s highest honor, including Norman Jewison, Francis Ford Coppola, Clint Eastwood, Robert Zemeckis, Ron Howard, Martin Scorsese, George Lucas, Kathleen Kennedy and Richard Donner.

 

Lifetime Career Achievement Awards went to industry veterans Richard Marks, A.C.E. and Larry Silk, A.C.E.  Last year’s ACE Golden Eddie Award honoree Alexander Payne teamed up with Film Critic Kenneth Turan to present to Mr. Marks, whose long and prolific career includes four Oscar® nominations (“As Good as It Gets,” “Broadcast News,” “Terms of Endearment” and “Apocalypse Now”) and an impressive list of credits that includes “Serpico,” “The Godfather: Part II,” “St. Elmo’s Fire,” “Pretty in Pink,” “Say Anything,” “Dick Tracy” and “Julie & Julia,” among many others. Esteemed documentarian Barbara Kopple presented to Mr. Silk, whose impressive body of work includes two Emmy® nominations (“One Survivor Remembers” and “The Twentieth Century (1957)”.   His other credits include some of the most successful and memorable documentaries of their time including the doc that made Arnold Schwarzenegger a household name (“Pumping Iron”), the Oscar® winning “American Dream”, “Wild Man Blues” which, in 1997, was named the Best Documentary of the Year by the National Board of Review and Broadcast Film Critics Association and the Oscar® winning “Marjoe” among many others.  Mr. Silk also worked extensively in television, editing numerous documentary specials including “Defending Our Daughters: The Rights of Women in the World,” “National Geographic Explorer,”

“Fallen Champ: The Untold Story of Mike Tyson” and “Childhood.”   He also edited several episodes of the long-running hit series “The Equalizer.”  The careers of all three

special honorees were highlighted with clip reels and praise from friends and colleagues during the affair.

 

As is the ACE tradition, editors teamed up with actors and filmmakers to help present awards.  In addition to those already mentioned, the list of the evening’s presenters also included editorMichael R. Miller, A.C.E. with Josh Radnor (“How I Met Your Mother”), editor Jordan Goldman, A.C.E.  with David Harewood (“Homeland”), Skip MacDonald, A.C.E. and Aaron Paul (“Breaking Bad”), Eliza Coupe and Damon Wayans, Jr. (stars of “Happy Endings”), editor Susan Vaill, A.C.E.with Kevin McKidd and Jessica Capshaw (stars of “Grey’s Anatomy”), editor Kevin Tent, A.C.E.and Will Forte (SNL and Alexander Payne’s upcoming film “Nebraska”), writer/filmmaker Mark Andrews (an Oscar® nominee this year for “Brave”), and one of this year’s Oscar® nominees for Best Supporting Actress Jacki Weaver.   VIP guests included Oscar® nominees David O. Russell(Director, The Silver Linings Playbook), Ang Lee (Director, “Life of Pi”), and Producer Frank Marshall, among many others.  The evening was presided over by ACE President Alan Heim,A.C.E.  Serving as Master of Ceremonies was actor and comedian David Cross.

 

A full list of winners follows:

 

63RD ANNUAL ACE EDDIE AWARD WINNERS

 

BEST EDITED FEATURE FILM (DRAMATIC)

Argo

William Goldenberg, A.C.E.

 

BEST EDITED FEATURE FILM (COMEDY/MUSICAL)

Silver Linings Playbook

Jay Cassidy, A.C.E. and Crispin Struthers

 

BEST EDITED FEATURE FILM (ANIMATED)

Brave

Nicholas C. Smith, A.C.E. & Robert Grahamjones, A.C.E

 

BEST EDITED DOCUMENTARY (FEATURE):

Searching for Sugar Man

Malik Bendjelloul

 

BEST EDITED DOCUMENTARY (TELEVISION):

American Masters – Phil Ochs: There But For Fortune

Pamela Scott Arnold

 

BEST EDITED HALF-HOUR SERIES FOR TELEVISION:

Nurse Jackie: “Handle Your Scandal” 

Gary Levy

 

BEST EDITED ONE-HOUR SERIES FOR COMMERCIAL TELEVISION:

Breaking Bad: “Dead Freight”

Skip MacDonald A.C.E.

 

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

The Newsroom: “We Just Decided To (Pilot)”

Anne McCabe, A.C.E.

 

BEST EDITED MINISERIES OR MOTION PICTURE FOR TELEVISION:

Hemingway & Gellhorn

Walter Murch, A.C.E.

BEST EDITED NON-SCRIPTED SERIES:

Frozen Planet: “Ends of the Earth”

Andy Netley & Sharon Gillooly

 

STUDENT COMPETITION

Michael Smith – AFI

 

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 ACEEddie Awards, now in its 63rd year, recognizing outstanding editing in ten 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