By Ray Pride Pride@moviecitynews.com

ACE Editing Awards Nominees Announced

NOMINEES ANNOUNCED FOR THE 66TH ANNUAL ACE EDDIE AWARDS RECOGNIZING THE BEST EDITING OF THE YEAR
IN FILM, TELEVISION AND DOCUMENTARIES
Winners will be announced at the 66th Annual ACE Eddie Awards presented by American Cinema Editors on January 29
          Universal City, CA, Jan. 4 – American Cinema Editors (ACE) today announced nominations for the 66th Annual ACE Eddie Awards recognizing outstanding editing in ten categories of film, television and documentaries. Winners will be revealed during ACE’s annual black-tie awards ceremony on Friday, January 29, 2016 in the International Ballroom of the Beverly Hilton Hotel and will be presided over by ACE President, Alan Heim.As previously announced, writer/director Nancy Meyers will receive the ACE Golden Eddie Filmmaker of the Year award.  Two Career Achievement honorees will be announced later this week.
NOMINEES FOR 66th ANNUAL ACE EDDIE AWARDS
BEST EDITED FEATURE FILM (DRAMATIC):
Mad Max: Fury Road
Margaret SixelThe Martian
Pietro Scalia, ACEThe Revenant
Stephen Mirrione, ACE

Sicario
Joe Walker, ACE

Star Wars: The Force Awakens
Maryann Brandon, ACE & Mary Jo Markey, ACE

BEST EDITED FEATURE FILM (COMEDY):
Ant-Man
Dan Lebental, ACE & Colby Parker, Jr., ACE

The Big Short
Hank Corwin, ACE

Joy
Jay Cassidy, ACE, Alan Baumgarten, ACE, 
Christopher Tellefsen, ACE & Tom Cross, ACE

Me and Earl and the Dying Girl
David Trachtenberg

Trainwreck
William Kerr, ACE & Paul Zucker

BEST EDITED ANIMATED FEATURE FILM:
Anomalisa
Garret Elkins

Inside Out
Kevin Nolting, ACE

The Good Dinosaur
Stephen Schaffer, ACE

BEST EDITED DOCUMENTARY (FEATURE):
Amy
Chris King

Cobain: Montage of Heck
Joe Beshenkovsky & Brett Morgen

Going Clear: Scientology and the Prison of Belief
Andy Grieve

He Named Me Malala
Greg Finton, ACE, Brian Johnson & Brad Fuller

The Wrecking Crew
Claire Scanlon

BEST EDITED DOCUMENTARY (TELEVISION):
Keith Richards: Under the Influence
Joshua L. Pearson

The Jinx: The Life and Deaths of Robert Durst “Chapter 1″

Richard Hankin, ACE, Zac Stuart-Pontier, Caitlyn Greene, Shelby Siegel

The Seventies: The United State vs. Nixon
Chris A. Peterson, ACE

BEST EDITED HALF-HOUR SERIES FOR TELEVISION:
Inside Amy Schumer: 12 Angry Men

Nick Paley

Silicon Valley: Two Days of the Condor
Brian Merken, ACE

Veep: Election Night
Gary Dollner

BEST EDITED ONE-HOUR SERIES FOR COMMERCIAL TELEVISION:
Better Call Saul: “Five-O”
Kelley Dixon, ACE

Better Call Saul: “Uno”
Skip Macdonald, ACE

Fargo: “Did You Do This? No, You Did It!”
Skip Macdonald, ACE & Curtis Thurber

The Good Wife: “Restrain”
Scott Vickrey, ACE

Mad Men: “Person to Person”
Tom Wilson

BEST EDITED ONE-HOUR SERIES FOR NON-COMMERCIAL TELEVISION:
Game of Thrones: “The Dance of Dragons”
Katie Weiland

Game of Thrones: “Hardhome”
Tim Porter

Homeland: “The Tradition of Hospitality”
Harvey Rosenstock, ACE

House of Cards: “Chapter 39”
Lisa Bromwell, ACE

The Knick: “Wonderful Surprises”
Mary Ann Bernard

BEST EDITED LONGFORM (MINISERIES OR MOTION PICTURE) FOR TELEVISION:
Bessie
Brian A. Kates, ACE

Dolly Parton’s Coat of Many Colors
Maysie Hoy, ACE

Orange is the New Black: “Trust No Bitch” (90 minute episode)
William Turro

BEST EDITED NON-SCRIPTED SERIES:
Anthony Bourdain: Parts Unknown: “Bay Area”
Hunter Gross, ACE

Deadliest Catch: “Zero Hour”
Josh Earl, ACE & Ben Bulatao

Whale Wars: “The Darkest Hour”
Eric Driscoll, Nik Jamgocyan, Chris Kirkpatrick, David Michael Maurer, ACE, Greg McDonald, Marcus Miller & Alexandria Scott

Final Ballots will be mailed on January 8 and voting ends on January 20.  The Blue Ribbon screenings where judging for all television categories and the documentary film category take place January 17.  Projects in the aforementioned categories are viewed and judged by committees comprised of professional editors (all ACE members).  All 800+ ACE members vote during the final balloting of the ACE Eddies, including active members, life members, affiliate members and honorary members.

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 (an international editing festival), Invisible Art/Visible Artists (annual panel of Oscar® nominated editors), and the ACE Eddie Awards, now in its 66th 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.”
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~ David Simon