By Ray Pride Pride@moviecitynews.com

NOMINEES ANNOUNCED FOR THE  69TH ANNUAL ACE EDDIE AWARDS  RECOGNIZING BEST EDITING OF 2018  IN FILM, TELEVISION AND DOCUMENTARIES

Posted Monday, January 7th, 2019 - Comments Off on NOMINEES ANNOUNCED FOR THE  69TH ANNUAL ACE EDDIE AWARDS  RECOGNIZING BEST EDITING OF 2018  IN FILM, TELEVISION AND DOCUMENTARIES
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Winners to be announced at the 69th Annual ACE Eddie Awards presented by American Cinema Editors (ACE) on Feb. 1 at the Beverly Hilton Hotel

Los Angeles, Jan. 7, 2019 — American Cinema Editors (ACE), the honorary society of the world’s top film editors, today announced nominations for the 69th Annual ACE Eddie Awards recognizing outstanding editing in 11 categories of film, television and documentaries. Winners will be revealed during ACE’s annual black-tie awards ceremony on Friday, Feb. 1 in the International Ballroom of the Beverly Hilton Hotel and will be presided over by ACE President, Stephen Rivkin, ACE.  Final ballots open Jan. 11 and close on Jan. 21.  More information on the ACE Eddie Awards is available on the ACE website.

NOMINEES FOR 69th ANNUAL ACE EDDIE AWARDS

BEST EDITED FEATURE FILM (DRAMATIC):
BlacKkKlansman
Barry Alexander Brown

Bohemian Rhapsody
John Ottman, ACE

First Man
Tom Cross, ACE

Roma
Alfonso Cuarón & Adam Gough

A Star is Born
Jay Cassidy, ACE

BEST EDITED FEATURE FILM (COMEDY):
Crazy Rich Asians
Myron Kerstein

Deadpool 2
Craig Alpert, ACE, Elísabet Ronaldsdóttir & Dirk Westervelt

The Favourite
Yorgos Mavropsaridis, ACE

Green Book
Patrick J. Don Vito

Vice
Hank Corwin, ACE

BEST EDITED ANIMATED FEATURE FILM:
Incredibles 2
Stephen Schaffer, ACE

Isle of Dogs
Andrew Weisblum, ACE, Ralph Foster & Edward Bursch

Spider-Man: Into the Spider-Verse
Robert Fisher, Jr.

BEST EDITED DOCUMENTARY (FEATURE):
Free Solo
Bob Eisenhardt, ACE

RBG
Carla Gutierrez

Three Identical Strangers
Michael Harte

Won’t You Be My Neighbor?
Jeff Malmberg & Aaron Wickenden, ACE

BEST EDITED DOCUMENTARY (NON-THEATRICAL):
A Final Cut for Orson: 40 Years in the Making
Martin Singer

Robin Williams: Come Inside My Mind
Greg Finton, ACE & Poppy Das, ACE

Wild Wild Country, Part 3
Neil Meiklejohn

The Zen Diaries of Garry Shandling
Joe Beshenkovsky, ACE

BEST EDITED COMEDY SERIES FOR COMMERCIAL TELEVISION:
Atlanta: “Alligator Man”
Isaac Hagy

Atlanta: “Teddy Perkins”
Kyle Reiter

The Good Place: “Don’t Let the Good Life Pass You By” 
Eric Kissack

Portlandia: “Rose Route” 
Jordan Kim, Ali Greer, Heather Capps & Stacy Moon

BEST EDITED COMEDY SERIES FOR NON-COMMERCIAL TELEVISION:
Barry: “Make Your Mark” 
Jeff Buchanan

Insecure: “Obsessed-Like”
Nena Erb, ACE

The Marvelous Mrs. Maisel: “Simone”
Kate Sanford, ACE

The Marvelous Mrs. Maisel: “We’re Going to the Catskills!”
Tim Streeto, ACE

BEST EDITED DRAMA SERIES FOR COMMERCIAL TELEVISION:
The Americans: “Start”
Daniel Valverde

Better Call Saul: “Something Stupid”
Skip Macdonald, ACE
Better Call Saul: “Winner”
Chris McCaleb

Killing Eve: “Nice Face”
Gary Dollner, ACE

BEST EDITED DRAMA SERIES FOR NON-COMMERCIAL TELEVISION:
Bodyguard: “Episode 1”
Steve Singleton

Homecoming: “Redwood”
Rosanne Tan

Ozark: “One Way Out”
Cindy Mollo, ACE & Heather Goodwin Floyd

Westworld: “The Passenger”
Andrew Seklir, ACE, Anna Hauger & Mako Kamitsuna

BEST EDITED MINISERIES OR MOTION PICTURE FOR TELEVISION:
The Assassination of Gianni Versace: American Crime Story: “A Random Killing”
Emily Greene

Escape at Dannemora: “Better Days”
Malcolm Jamieson & Geoffrey Richman ACE

Sharp Objects: “Milk”
Véronique Barbe, Dominique Champagne, Justin Lachance, Maxime Lahaie, Émile Vallée & Jai M. Vee

BEST EDITED NON-SCRIPTED SERIES:
Anthony Bourdain – Parts Unknown: “West Virginia”
Hunter Gross, ACE

Deadliest Catch: “Storm Surge”
Rob Butler, ACE

Naked & Afraid: “Fire and Fury”
Molly Shock, ACE and Jnani Butler

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 69th year, recognizing outstanding editing in eleven 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