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By Ray Pride Pride@moviecitynews.com

AMERICAN CINEMA EDITORS (ACE) ANNOUNCES NOMINEES FOR THE 64TH ANNUAL ACE EDDIE AWARDS RECOGNIZING THE BEST EDITING OF THE YEAR IN FILM, TELEVISION AND DOCUMENTARIES

Universal City, CA, Jan. 10 –American Cinema Editors (ACE) today announced nominations for the 64th 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, February 7, 2014 in the International Ballroom of the Beverly Hilton Hotel.

BEST EDITED FEATURE FILM (DRAMATIC):

 

12 Years a Slave

Joe Walker

 

Captain Phillips

Chris Rouse, A.C.E.

 

Gravity

Alfonso Cuarón & Mark Sanger

 

Her

Eric Zumbrunnen, A.C.E. & Jeff Buchanan

 

Saving Mr. Banks

Mark Livolsi, A.C.E.

BEST EDITED FEATURE FILM (COMEDY OR MUSICAL):

 

American Hustle

Jay Cassidy, A.C.E., Crispin Struthers & Alan Baumgarten, A.C.E.

 

August: Osage County

Stephen Mirrione, A.C.E.

 

Inside Llewyn Davis

Roderick Jaynes

 

Nebraska

Kevin Tent, A.C.E.

 

The Wolf of Wall Street

Thelma Schoonmaker, A.C.E.

 

BEST EDITED ANIMATED FEATURE FILM:

 

Despicable Me 2

Gregory Perler, A.C.E.

 

Frozen

Jeff Draheim

 

Monsters University Greg Snyder

BEST EDITED DOCUMENTARY (FEATURE):

 

20 Feet from Stardom

Douglas Blush, Kevin Klauber & Jason Zeldes

 

Blackfish

Eli Despres

 

Tim’s Vermeer

Patrick Sheffield

 

BEST EDITED DOCUMENTARY (TELEVISION):

 

American Masters: Jimi Hendrix: Hear My Train a Comin’

Stephen Ellis, Gordon Mason & Phil McDonald

                              

American Winter

Aaron I. Butler

 

The Assassination of President Kennedy

Chris A. Peterson

 

BEST EDITED HALF-HOUR SERIES FOR TELEVISION:

 

30 Rock: “Hogcock! / Last Lunch”

Meg Reticker / Ken Eluto, A.C.E.

 

Arrested Development: “Flight of the Phoenix”

Kabir Akhtar & A.J. Dickerson

 

The Office: “Finale”

David Rogers & Claire Scanlon

 

BEST EDITED ONE-HOUR SERIES FOR COMMERCIAL TELEVISION:

 

Breaking Bad: “Buried”

Skip MacDonald A.C.E. & Sharidan Williams-Sotelo

 

Breaking Bad: “Felina”

Skip MacDonald A.C.E.

 

Breaking Bad: “Granite State”

Kelley Dixon, A.C.E. & Chris McCaleb

 

Breaking Bad: “Ozymandias”

Skip MacDonald A.C.E.

 

The Good Wife: “Hitting the Fan”

Scott Vickrey, A.C.E.

 

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

 

Game of Thrones: “The Rains of Castamere”

Oral Norrie Ottey

 

Homeland: “Big Man in Tehran”

Terry Kelley, A.C.E.

 

House of Cards: “Chapter 1”

Kirk Baxter, A.C.E.

 

BEST EDITED MINISERIES OR MOTION PICTURE FOR TELEVISION:

 

American Horror Story: Asylum: “The Name Game”

Stewart Schill, A.C.E.

 

Behind the Candelabra

Mary Ann Bernard

 

Phil Spector

Barbara Tulliver, A.C.E.

 

BEST EDITED NON-SCRIPTED SERIES:

 

Anthony Bourdain: Parts Unknown: Tokyo

Nick Brigden

 

Beyond Scared Straight: “The Return of Hustle Man”

Rob Goubeaux, A.C.E., Mark S. Andrew, A.C.E., Paul J. Coyne, A.C.E., Jennifer Nelson, Martin Skibosh, Trevor Campbell

 

Deadliest Catch: “Mutiny on the Bering Sea”

Josh Earl, A.C.E.  Alex Durham, Rob Butler

 

Final Ballots will be mailed on January 13 and voting ends on January 29.  The Blue Ribbon panels where judging for all television categories and the documentary film category take place January 26.  Projects in the aforementioned categories are viewed and judged by panels comprised of professional editors (all ACE members).  All 700+ ACE members vote during the final balloting of the ACE Eddies, including active members, life members, affiliate members and honorary members.

 

The ACE Eddie Awards is considered an integral precursor to the Oscars®.  No film has won Best Picture at the Oscars® without also having received at least a Best Editing nomination since ORDINARY PEOPLE in 1981.  Since the ACE membership boasts a very high crossover within its membership of Academy® members, it represents a very accurate bellwether for the eventual Oscar® outcome.

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 (a bicoastal editing festival), Invisible Art/Visible Artists (annual panel of Oscar® nominated editors), and the ACE Eddie Awards, now in its 64th 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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“The core fear is what can happen to you, personally. Your body. That’s what horror films deal with, precisely. We are a very thin skin wrapped around a pumping heart and guts. At any given moment it can come down to that, be it diseases, or somebody’s assault, or war, or a car wreck. You could be reduced to the simple laws of physics and your body’s vulnerability. The edged weapon is the penultimate weapon to disclose that reality to you.”
~ Wes Craven, 1996, promoting Scream

MAMET
Well, that, to me, is always the trick of dramaturgy; theoretically, perfectly, what one wants to do is put the protagonist and the audience in exactly the same position. The main question in drama, the way I was taught, is always what does the protagonist want. That’s what drama is. It comes down to that. It’s not about theme, it’s not about ideas, it’s not about setting, but what the protagonist wants. What gives rise to the drama, what is the precipitating event, and how, at the end of the play, do we see that event culminated? Do we see the protagonist’s wishes fulfilled or absolutely frustrated? That’s the structure of drama. You break it down into three acts.

INTERVIEWER
Does this explain why your plays have so little exposition?

MAMET
Yes. People only speak to get something. If I say, Let me tell you a few things about myself, already your defenses go up; you go, Look, I wonder what he wants from me, because no one ever speaks except to obtain an objective. That’s the only reason anyone ever opens their mouth, onstage or offstage. They may use a language that seems revealing, but if so, it’s just coincidence, because what they’re trying to do is accomplish an objective… The question is where does the dramatist have to lead you? Answer: the place where he or she thinks the audience needs to be led. But what does the character think? Does the character need to convey that information? If the answer is no, then you’d better cut it out, because you aren’t putting the audience in the same position with the protagonist. You’re saying, in effect, Let’s stop the play. That’s what the narration is doing—stopping the play… It’s action, as Aristotle said. That’s all that it is—exactly what the person does. It’s not what they “think,” because we don’t know what they think. It’s not what they say. It’s what they do, what they’re physically trying to accomplish on the stage. Which is exactly the same way we understand a person’s character in life—not by what they say, but by what they do. Say someone came up to you and said, I’m glad to be your neighbor because I’m a very honest man. That’s my character. I’m honest, I like to do things, I’m forthright, I like to be clear about everything, I like to be concise. Well, you really don’t know anything about that guy’s character. Or the person is onstage, and the playwright has him or her make those same claims in several subtle or not-so-subtle ways, the audience will say, Oh yes, I understand their character now; now I understand that they are a character. But in fact you don’t understand anything. You just understand that they’re jabbering to try to convince you of something.
~ David Mamet

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