By Ray Pride Pride@moviecitynews.com

“MAD MAX: FURY ROAD,” “THE BIG SHORT” AND “INSIDE OUT” WIN BIG AT THE 66TH ANNUAL ACE EDDIE AWARDS RECOGNIZING THE BEST FILM EDITING OF THE YEAR

Posted Saturday, January 30th, 2016 - Comments Off on “MAD MAX: FURY ROAD,” “THE BIG SHORT” AND “INSIDE OUT” WIN BIG AT THE 66TH ANNUAL ACE EDDIE AWARDS RECOGNIZING THE BEST FILM EDITING OF THE YEAR
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Beverly Hills, January 29 – “Mad Max: Fury Road” (edited by Margaret Sixel) and “The Big Short” (edited by Hank Corwin, ACE) won Best Edited Feature Film (Dramatic) and Best Edited Feature Film (Comedy) respectively at the 66th Annual ACE Eddie Awards tonight where trophies were handed out recognizing the best editing of 2015 in ten 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.  President of American Cinema Editors, Alan Heim, ACE, presided over the evening’s festivities with actor/comedian Adam DeVine serving as the evening’s host.“Inside Out” (edited by Kevin Nolting, ACE) won Best Edited Animated Feature Film and “Amy”  (edited by Chris King) won Best Edited Documentary (Feature).

Television winners included “Inside Amy Schumer: 12 Angry Men” (edited by Nick Paley) for Best Edited Half-Hour Series for Television, “Mad Men: Person to Person” (edited by Tom Wilson) for Best Edited One-Hour Series for Commercial television,  “House of Cards – Chapter 39” (edited by Lisa Bromwell, ACE) for Best Edited One-Hour Series for Non-Commercial Television, “Bessie” (edited by Brian A. Kates, ACE) for Best Edited Miniseries or Motion Picture for Television, and “Anthony Bourdain – Parts Unknown:  Bay Area” (edited by Hunter Gross, ACE) for Best Edited Non-Scripted Series.  In the Best Edited Documentary (Television) category and “The Jinx: The Life and Deaths of Robert Durst — A Body in the Bay” (edited by Zac Stuart-Pontier, Richard Hankin, ACE, Caitlyn Greene, Shelby Siegel) took top honors.

The Student Editing Competition winner was Chris Dold of University of North Carolina, School of the Arts who beat out hundreds of competitors from film schools and universities around the country.  “Star Wars” filmmaker J.J. Abrams presented the award to Dold.

Award-winning filmmaker Nancy Meyers received the organization’s prestigious ACE Golden Eddie Filmmaker of the Year honor, which was presented to her by long-time friend and collaborator Steve Martin.  Meyers joins an impressive list of filmmakers who have received ACE’s highest honor, including Norman Jewison, Francis Ford Coppola, Clint Eastwood, Robert Zemeckis, Alexander Payne, Ron Howard, Martin Scorsese, George Lucas, Kathleen Kennedy, Steven Spielberg, Christopher Nolan, Frank Marshall and Richard Donner, among others.

Career Achievement Awards went to industry veterans Carol Littleton, ACE and Ted Rich, ACE.  Their work was highlighted with clip reels exhibiting their tremendous contributions to film and television throughout their careers.

In addition to Steve Martin and J.J. Abrams, the presenters included Mindy Kaling, two-time Oscar® nominated writer/director of “The Big Short” Adam McKay, creator of “Breaking Bad” and “Better Call Saul” Vince Gilligan, Michael Mando (“Better Call Saul”), star of Fox’s “The Grinder” Fred Savage, award-winning filmmaker Lawrence Kasdan, Santino Fontana (“Crazy Ex-Girlfriend”), writer/director Damien Chazelle (“Whiplash” and the upcoming “La La Land”), Oscar® winning actor J.K. Simmons and Oscar® nominated actress Jennifer Jason Leigh (“The Hateful Eight,” “Anomalisa”).

A full list of winners follows:

66th ANNUAL ACE EDDIE AWARD WINNERS

BEST EDITED FEATURE FILM (DRAMATIC):
Mad Max: Fury Road
Margaret Sixel

BEST EDITED FEATURE FILM (COMEDY):
The Big Short
Hank Corwin, ACE

BEST EDITED ANIMATED FEATURE FILM:
Inside Out
Kevin Nolting, ACE

BEST EDITED DOCUMENTARY (FEATURE):
Amy
Chris King

BEST EDITED DOCUMENTARY (TELEVISION):                 
The Jinx: The Life and Deaths of Robert Durst “A Body in the Bay”
Zac Stuart-Pontier, Richard Hankin, ACE, Caitlyn Greene, Shelby Siegel

BEST EDITED HALF-HOUR SERIES FOR TELEVISION:
Inside Amy Schumer: “12 Angry Men
”
Nick Paley

BEST EDITED ONE-HOUR SERIES FOR COMMERCIAL TELEVISION:
Mad Men: “Person to Person”
Tom Wilson

BEST EDITED ONE-HOUR SERIES FOR NON-COMMERCIAL TELEVISION:
House of Cards: “Chapter 39”
Lisa Bromwell, ACE

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

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

BEST STUDENT EDITING:
Chris Dold – University of North Carolina, School of the Arts
  
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 66thyear, 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