By Ray Pride Pride@moviecitynews.com

“ARGO,” “THE SILVER LININGS PLAYBOOK” AND “BRAVE” WIN BIG AT THE 63RD ANNUAL ACE EDDIE AWARDS RECOGNIZING OUTSTANDING EDITING IN 2012

 

“BREAKING BAD,” “NURSE JACKIE” AND “THE NEWSROOM” TOP TELEVISION WINNERS

 

“SEARCHING FOR SUGAR MAN” TAKES FILM DOC PRIZE

AND IN A BRAND NEW CATEGORY THIS YEAR “AMERICAN MASTERS – PHIL OCHS: THERE BUT FOR FORTUNE” WINS BEST EDITED DOCUMENTARY (TELEVISION)

 

STEVEN SPIELBERG, RICHARD MARKS, A.C.E. AND LARRY SILK, A.C.E. RECEIVE SPECIAL HONORS

 

Beverly Hills, February 16 – “Argo” (edited by William Goldenberg, A.C.E.) and “The Silver Linings Playbook” (edited by Jay Cassidy, A.C.E. and Crispin Struthers) won Best Edited Feature Film (Dramatic) and Best Edited Feature Film (Comedy/Musical) respectively at the 63rdAnnual ACE Eddie Awards tonight where trophies were handed out in ten (10) 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 the year’s best editing.   “Brave” (edited by Nicholas C. Smith, A.C.E. & Robert Grahamjones, A.C.E.) won Best Edited Animated Feature Film and “Searching For Sugar Man”  (edited by Malik Bendjelloul) won Best Edited Documentary (Feature).

 

Television winners included ”Nurse Jackie – Handle Your Scandle” (edited by Gary Levy) for Best Edited Half-Hour Series for Television, “Breaking Bad – Dead Freight” (edited by Skip MacDonald, A.C.E.) for Best Edited One-Hour Series for Commercial television,  “The Newsroom – We Just Decided To (Pilot)” (edited by Anne McCabe, A.C.E.) for Best Edited One-Hour Series for Non-Commercial Television, “Hemingway & Gellhorn” (edited by Walter Murch, A.C.E.) for Best Edited Miniseries or Motion Picture for Television, and “Frozen Planet – Ends of the Earth” (edited by Andy Netley & Sharon Gillooly) for Best Edited Non-Scripted Series.  In a newly created category this year, “American Masters – Phil Ochs: There But For Fortune” (edited by Pamela Scott Arnold) won Best Edited Documentary (Television).

 

The Student Editing Competition winner was Michael Smith of American Film Institute who beat out hundreds of competitors from film schools and universities around the country.  Oscar® winning actor Jon Voight presented the ACE Eddie Award to the winner.

 

The legendary Steven Spielberg received the ACE Golden Eddie Filmmaker of the Year honor presented to him by longtime collaborator and friend Kathleen Kennedy.  Mr. Spielberg joins an impressive list of filmmakers to receive ACE’s highest honor, including Norman Jewison, Francis Ford Coppola, Clint Eastwood, Robert Zemeckis, Ron Howard, Martin Scorsese, George Lucas, Kathleen Kennedy and Richard Donner.

 

Lifetime Career Achievement Awards went to industry veterans Richard Marks, A.C.E. and Larry Silk, A.C.E.  Last year’s ACE Golden Eddie Award honoree Alexander Payne teamed up with Film Critic Kenneth Turan to present to Mr. Marks, whose long and prolific career includes four Oscar® nominations (“As Good as It Gets,” “Broadcast News,” “Terms of Endearment” and “Apocalypse Now”) and an impressive list of credits that includes “Serpico,” “The Godfather: Part II,” “St. Elmo’s Fire,” “Pretty in Pink,” “Say Anything,” “Dick Tracy” and “Julie & Julia,” among many others. Esteemed documentarian Barbara Kopple presented to Mr. Silk, whose impressive body of work includes two Emmy® nominations (“One Survivor Remembers” and “The Twentieth Century (1957)”.   His other credits include some of the most successful and memorable documentaries of their time including the doc that made Arnold Schwarzenegger a household name (“Pumping Iron”), the Oscar® winning “American Dream”, “Wild Man Blues” which, in 1997, was named the Best Documentary of the Year by the National Board of Review and Broadcast Film Critics Association and the Oscar® winning “Marjoe” among many others.  Mr. Silk also worked extensively in television, editing numerous documentary specials including “Defending Our Daughters: The Rights of Women in the World,” “National Geographic Explorer,”

“Fallen Champ: The Untold Story of Mike Tyson” and “Childhood.”   He also edited several episodes of the long-running hit series “The Equalizer.”  The careers of all three

special honorees were highlighted with clip reels and praise from friends and colleagues during the affair.

 

As is the ACE tradition, editors teamed up with actors and filmmakers to help present awards.  In addition to those already mentioned, the list of the evening’s presenters also included editorMichael R. Miller, A.C.E. with Josh Radnor (“How I Met Your Mother”), editor Jordan Goldman, A.C.E.  with David Harewood (“Homeland”), Skip MacDonald, A.C.E. and Aaron Paul (“Breaking Bad”), Eliza Coupe and Damon Wayans, Jr. (stars of “Happy Endings”), editor Susan Vaill, A.C.E.with Kevin McKidd and Jessica Capshaw (stars of “Grey’s Anatomy”), editor Kevin Tent, A.C.E.and Will Forte (SNL and Alexander Payne’s upcoming film “Nebraska”), writer/filmmaker Mark Andrews (an Oscar® nominee this year for “Brave”), and one of this year’s Oscar® nominees for Best Supporting Actress Jacki Weaver.   VIP guests included Oscar® nominees David O. Russell(Director, The Silver Linings Playbook), Ang Lee (Director, “Life of Pi”), and Producer Frank Marshall, among many others.  The evening was presided over by ACE President Alan Heim,A.C.E.  Serving as Master of Ceremonies was actor and comedian David Cross.

 

A full list of winners follows:

 

63RD ANNUAL ACE EDDIE AWARD WINNERS

 

BEST EDITED FEATURE FILM (DRAMATIC)

Argo

William Goldenberg, A.C.E.

 

BEST EDITED FEATURE FILM (COMEDY/MUSICAL)

Silver Linings Playbook

Jay Cassidy, A.C.E. and Crispin Struthers

 

BEST EDITED FEATURE FILM (ANIMATED)

Brave

Nicholas C. Smith, A.C.E. & Robert Grahamjones, A.C.E

 

BEST EDITED DOCUMENTARY (FEATURE):

Searching for Sugar Man

Malik Bendjelloul

 

BEST EDITED DOCUMENTARY (TELEVISION):

American Masters – Phil Ochs: There But For Fortune

Pamela Scott Arnold

 

BEST EDITED HALF-HOUR SERIES FOR TELEVISION:

Nurse Jackie: “Handle Your Scandal” 

Gary Levy

 

BEST EDITED ONE-HOUR SERIES FOR COMMERCIAL TELEVISION:

Breaking Bad: “Dead Freight”

Skip MacDonald A.C.E.

 

BEST EDITED ONE-HOUR SERIES FOR NON-COMMERCIAL TELEVISION:

The Newsroom: “We Just Decided To (Pilot)”

Anne McCabe, A.C.E.

 

BEST EDITED MINISERIES OR MOTION PICTURE FOR TELEVISION:

Hemingway & Gellhorn

Walter Murch, A.C.E.

BEST EDITED NON-SCRIPTED SERIES:

Frozen Planet: “Ends of the Earth”

Andy Netley & Sharon Gillooly

 

STUDENT COMPETITION

Michael Smith – AFI

 

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 (a weekend editing festival in the summer), Invisible Art/Visible Artists (annual panel of Oscar® nominated editors), and the ACEEddie Awards, now in its 63rd 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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Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
~ Julian Schnabel Remembers NYC’s Now-Shuttered Pearl Paint

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé