By Ray Pride Pride@moviecitynews.com

The 2017 ACE Eddie Awards

WINNERS ANNOUNCED FOR THE 67TH ANNUAL ACE EDDIE AWARDS RECOGNIZING THE BEST EDITING OF THE YEAR IN FILM, TELEVISION AND DOCUMENTARIES

“ARRIVAL,” “LA LA LAND” AND “ZOOTOPIA” AMONG WINNERS AT THE 67TH ANNUAL ACE EDDIE AWARDS RECOGNIZING THE BEST FILM EDITING OF THE YEAR

“Arrival” (edited by Joe Walker, ACE) and “La La Land” (edited by Tom Cross, ACE) won Best Edited Feature Film (Dramatic) and Best Edited Feature Film (Comedy) respectively at the 67th Annual ACE Eddie Awards tonight where trophies were handed out recognizing the best editing of 2016 in ten categories of film, television and documentaries.  The black-tie ceremony, presented by American Cinema Editors (ACE), was held in the International Ballroom of the Beverly Hilton Hotel with over 1,000 in attendance to celebrate.  ACE President Stephen Rivkin, ACE, presided over the evening’s festivities with actress Rachel Bloom (Crazy Ex-Girlfriend) serving as the evening’s host.

“Zootopia” (edited by Fabienne Rawley & Jeremy Milton) won Best Edited Animated Feature Film and “O.J.: Made in America”  (edited by Bret Granato, Maya Mumma & Ben Sozanski) won Best Edited Documentary (Feature).

Television winners included “Veep: Morning After” (edited by Steven Rasch, ACE) for Best Edited Half-Hour Series for Television, “This is Us: Pilot” (edited by David L. Bertman, ACE) for Best Edited One-Hour Series for Commercial television,  “Game of Thrones: Battle of the Bastards” (edited by Tim Porter, ACE) for Best Edited One-Hour Series for Non-Commercial Television, “All The Way” (edited by Carol Littleton, ACE) for Best Edited Miniseries or Motion Picture for Television, and “Anthony Bourdain – Parts Unknown:  Seneghal” (edited by Mustafa Bhagat) for Best Edited Non-Scripted Series and “Everything is Copy – Nora Ephron: Scripted & Unscripted” (edited by Bob Eisenhardt, ACE) In the Best Edited Documentary (Television) category.

Oscar® nominated director of “Arrival,” Denis Villeneuve presented the Student Editing award honor to Tommy Wakefield of University of North Carolina, School of the Arts who beat out hundreds of competitors from film schools and universities around the country.

Groundbreaking director/producer J.J. Abrams received the organization’s prestigious ACE Golden Eddie Filmmaker of the Year honor, which was presented to him by friend and collaborator Jeff Garlin.  Abrams joins an impressive list of filmmakers who have received ACE’s highest honor, including Norman Jewison, Nancy Meyers, 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.

Janet Ashikaga, ACE and Thelma Schoonmaker, ACE were presented with Career Achievement awards by Thomas Schlamme and Martin Scorsese respectively.  Their work was highlighted with clip reels exhibiting their tremendous contributions to film and television throughout their careers.

Other presenters at the ACE Eddie Awards included “Moonlight” star Trevante Rhodes, “Fences” stars Mykelti Williamson and Saniyya Sidney, Chrissy Metz (“This is Us”)  and actor Tim Matheson.

A full list of winners follows:

BEST EDITED FEATURE FILM (DRAMATIC):
Arrival
Joe Walker, ACE

BEST EDITED FEATURE FILM (COMEDY):
La La Land
Tom Cross, ACE

BEST EDITED ANIMATED FEATURE FILM:
Zootopia
Fabienne Rawley & Jeremy Milton

BEST EDITED DOCUMENTARY (FEATURE):
O.J.: Made in America
Bret Granato, Maya Mumma & Ben Sozanski

BEST EDITED DOCUMENTARY (TELEVISION):
Everything Is Copy – Nora Ephron: Scripted & Unscripted
Bob Eisenhardt, ACE

BEST EDITED HALF-HOUR SERIES FOR TELEVISION:
Veep: “Morning After”
Steven Rasch, ACE

BEST EDITED ONE-HOUR SERIES FOR COMMERCIAL TELEVISION:
This is Us: “Pilot”
David L. Bertman, ACE

BEST EDITED ONE-HOUR SERIES FOR NON-COMMERCIAL TELEVISION:
Game of Thrones: “Battle of the Bastards”
Tim Porter, ACE

BEST EDITED MINISERIES OR MOTION PICTURE FOR TELEVISION:
All the Way
Carol Littleton, ACE

BEST EDITED NON-SCRIPTED SERIES:
Anthony Bourdain: Parts Unknown: “Senegal”
Mustafa Bhagat

STUDENT COMPETITION:
Tommy Wakefield  – 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 67th 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.

###

 

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