By Ray Pride Pride@moviecitynews.com

American Cinema Editors Eddie Nominations Announced

American Cinema Editors (ACE) today announced nominations for the 68th 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 26, 2018 in the International Ballroom of the Beverly Hilton Hotel and will be presided over by ACE President, Stephen Rivkin, ACE.

NOMINEES FOR 68th ANNUAL ACE EDDIE AWARDS

BEST EDITED FEATURE FILM (DRAMATIC):
Blade Runner 2049
Joe Walker, ACE

Dunkirk
Lee Smith, ACE

Molly’s Game
Alan Baumgarten, ACE, Josh Schaeffer & Elliot Graham, ACE

The Post
Michael Kahn, ACE & Sarah Broshar

The Shape of Water
Sidney Wolinsky, ACE

BEST EDITED FEATURE FILM (COMEDY):
Baby Driver
Jonathan Amos, ACE & Paul Machliss, ACE

Get Out 
Gregory Plotkin

I, Tonya
Tatiana S. Riegel, ACE

Lady Bird
Nick Houy

Three Billboards Outside Ebbing, Missouri
Jon Gregory, ACE

BEST EDITED ANIMATED FEATURE FILM:
Coco
Steve Bloom

Despicable Me 3
Clair Dodgson

The Lego Batman Movie
David Burrows, ACE, Matt Villa & John Venzon, ACE

BEST EDITED DOCUMENTARY (FEATURE):
Cries From Syria
Aaron I. Butler

Jane
Joe Beshenkovsky, ACE, Will Znidaric, Brett Morgen

Joan Didion: The Center Will Not Hold

Ann Collins

LA 92
TJ Martin, Scott Stevenson, Dan Lindsay

BEST EDITED DOCUMENTARY (SMALL SCREEN):
The Defiant Ones – Part 1
Lasse Järvi, Doug Pray

Five Came Back: The Price of Victory
Will Znidaric

The Nineties – Can We All Get Along?
Inbal Lessner, ACE

Rolling Stone: Stories from the Edge – 01
Ben Sozanski, ACE, Geeta Gandbhir; Andy Grieve, ACE

BEST EDITED COMEDY SERIES FOR COMMERCIAL TELEVISION:
Black-ish: “Lemons”
John Peter Bernardo, Jamie Pedroza

Crazy Ex-Girlfriend: “Josh’s Ex-Girlfriend Wants Revenge”
Kabir Akhtar, ACE & Kyla Plewes

Portlandia: “Amore”
Heather Capps, Ali Greer, Jordan Kim

Will & Grace: “Grandpa Jack”
Peter Beyt

BEST EDITED COMEDY SERIES FOR NON-COMMERCIAL TELEVISION:
Curb Your Enthusiasm: “Fatwa!”
Steven Rasch, ACE

Curb Your Enthusiasm: “The Shucker”
Jonathan Corn, ACE

Glow: “Pilot”
William Turro, ACE

Veep: “Chicklet”
Roger Nygard, ACE & Gennady Fridman

BEST EDITED DRAMA SERIES FOR COMMERCIAL TELEVISION:
Better Call Saul: “Chicanery”
Skip Macdonald, ACE

Better Call Saul: “Witness”
Kelley Dixon, ACE & Skip Macdonald, ACE

Fargo: “Aporia”
Henk Van Eeghen, ACE

Fargo: “Who Rules the Land of Denial”
Andrew Seklir, ACE

BEST EDITED DRAMA SERIES FOR NON-COMMERCIAL TELEVISION:
Big Little Lies: “You Get What You Need”
David Berman

Game of Thrones: “Beyond the Wall”
Tim Porter, ACE


The Handmaid’s Tale: “Offred”
Julian Clarke, ACE & Wendy Hallam Martin

Stranger Things: “The Gate”
Kevin D. Ross, ACE

BEST EDITED MINISERIES OR MOTION PICTURE FOR TELEVISION:
Feud: “Pilot”
Adam Penn, ACE & Ken Ramos

Genius: Einstein “Chapter One”
James D. Wilcox

The Wizard of Lies
Ron Patane

BEST EDITED NON-SCRIPTED SERIES:
Deadliest Catch: “Lost at Sea”
Rob Butler, ACE & Ben Bulatao, ACE

Leah Remini: Scientology and the Aftermath: “The Perfect Scientology Family”
Reggie Spangler, Ben Simoff, Kevin Hibbard & Vince Oresman

VICE News Tonight: “Charlottesville: Race & Terror”
Tim Clancy, Cameron Dennis, John Chimples & Denny Thomas

Final Ballots will be mailed on January 5 and voting ends on January 18.  The Blue Ribbon screenings where judging for all television categories and the documentary film category take place January 14.  Projects in the aforementioned categories are viewed and judged by committees comprised of professional editors (all ACE members).  All 950+ 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 68th 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