By Ray Pride Pride@moviecitynews.com

ACE Eddies Awarded

“DUNKIRK,” “I, TONYA” AND “COCO” TAKE TOP HONORS 
AT THE 68TH ANNUAL ACE EDDIE AWARDS
 RECOGNIZING THE BEST FILM EDITING OF THE YEARVINCE GILLIGAN RECEIVES ACE GOLDEN EDDIE AWARD CELEBRATING HIS PROLIFIC CAREER

LEON ORTIZ-GIL, ACE AND MARK GOLDBLATT, ACE
RECEIVE CAREER ACHIEVEMENT AWARDS

“Dunkirk” (edited by Lee Smith, ACE) and “I, Tonya” (edited by Tatiana S. Riegel, ACE) won Best Edited Feature Film (Dramatic) and Best Edited Feature Film (Comedy) respectively at the 68thAnnual ACE Eddie Awards tonight where trophies were handed out recognizing the best editing of 2017 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 1000 in attendance to celebrate.  President of American Cinema Editors, Stephen Rivkin, ACE, presided over the evening’s festivities with actress/comedian Tichina Arnold serving as the evening’s host.

“Coco” (edited by Steve Bloom) won Best Edited Animated Feature Film and “Jane”  (edited by Joe Beshenkovsky, ACE, Will Znidaric and Brett Morgen) won Best Edited Documentary (Feature).

Television winners included “Black-ish — Lemons” (edited by John Peter Bernardo and Jamie Pedroza) for Best Edited Comedy Series for Commercial Television, “Curb Your Enthusiasm — The Shucker” (edited by Jonathan Corn, ACE) for Best Edited Comedy Series for Non-Commercial Television, “Fargo — Who Rules The Land of Denial” (edited by Andrew Seklir, ACE) for Best Edited Drama Series for Commercial Television, “The Handmaid’s Tale — Offred” (edited by Julian Clarke, ACE & Wendy Hallam Martin) for Best Edited Drama Series for Non-Commercial Television, “Genius:  Einstein Chapter One” (edited by James D. Wilcox) for Best Edited Miniseries or Motion Picture for Television,“Vice News Tonight —   Charlottesville: Race & Terror” (edited by Tim Clancy, Cameron Dennis, John Chimples & Denny Thomas) for Best Edited Non-Scripted Series and “Five Came Back: The Prince of Victory” (edited by Will Znidaric) for Best Edited Documentary (Non-Theatrical), making Znidaric a two-time winner this evening.

Producer Gale Anne Hurd presented the Student Editing award honor to Mariah Zenk of Missouri State University who beat out hundreds of competitors from film schools and universities around the country.

Iconic writer, producer, creator and showrunner of such hits as “Breaking Bad” and “Better Call Saul,” Vince Gilligan, received the organization’s prestigious ACE Golden Eddie honor, which was presented to him by his long time collaborator, film editor Skip MacDonald, ACE.   Gilligan joins an impressive list of industry luminaries 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.

Leon Ortiz-Gil, ACE and Mark Goldblatt, ACE were presented with Career Achievement awards by actress Mariska Hargitay and filmmaker Joe Dante respectively.  Ortiz-Gil is a three-time ACE Eddie Awards nominee whose impressive list of credits includes TV series’ “Law & Order,” “24” and “Dragnet.”  Goldblatt is an Oscar® nominated editor for “Terminator 2: Judgment Day” who also edited the original “Terminator” and other blockbusters such as “X-Men: The Last Stand,” “Pearl Harbor,” “True Lies,” and “Chappie,” among many others.  His latest project is Eli Roth’s upcoming “Death Wish.”  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 director Denis Villeneuve (Blade Runner 2049) and film editor Joe Walker, ACE, filmmaker Edgar Wright (Baby Driver), actress Parminder Nagra, Sam Lerner (The Goldbergs), actress Betty Gabriel (Get Out), actor Brett Gelman (Stranger Things, Lemon) and  “Lady Bird” cast members Jordan Rodriguez & Marielle Scott.

A full list of winners follows:

BEST EDITED FEATURE FILM (DRAMATIC):
Dunkirk
Lee Smith, ACE

BEST EDITED FEATURE FILM (COMEDY):
I, Tonya
Tatiana S. Riegel, ACE

BEST EDITED ANIMATED FEATURE FILM:
Coco
Steve Bloom

BEST EDITED DOCUMENTARY (FEATURE):
Jane
Joe Beshenkovsky, ACE, Will Znidaric, Brett Morgen

BEST EDITED DOCUMENTARY (NON-THEATRICAL)
Five Came Back: The Price of Victory
Will Znidaric

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

BEST EDITED COMEDY SERIES FOR NON-COMMERCIAL TELEVISION:
Curb Your Enthusiasm: “The Shucker”
Jonathan Corn, ACE

BEST EDITED DRAMA SERIES FOR COMMERCIAL TELEVISION:
Fargo: “Who Rules the Land of Denial”
Andrew Seklir, ACE

BEST EDITED DRAMA SERIES FOR NON-COMMERCIAL TELEVISION:
The Handmaid’s Tale: “Offred”
Julian Clarke, ACE & Wendy Hallam Martin

BEST EDITED MINISERIES OR MOTION PICTURE FOR TELEVISION:
Genius: Einstein “Chapter One”
James D. Wilcox

BEST EDITED NON-SCRIPTED SERIES:
VICE News Tonight: “Charlottesville: Race & Terror”
Tim Clancy, Cameron Dennis, John Chimples & Denny Thomas

STUDENT COMPETITION WINNER
Mariah Zenk – Missouri State University

A full list of nominees is available on the ACE web site.

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