“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
~ James Gray
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
Chris Rouse, A.C.E.
Alfonso Cuarón & Mark Sanger
Eric Zumbrunnen, A.C.E. & Jeff Buchanan
Saving Mr. Banks
Mark Livolsi, A.C.E.
BEST EDITED FEATURE FILM (COMEDY OR MUSICAL):
Jay Cassidy, A.C.E., Crispin Struthers & Alan Baumgarten, A.C.E.
August: Osage County
Stephen Mirrione, A.C.E.
Inside Llewyn Davis
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.
Monsters University Greg Snyder
BEST EDITED DOCUMENTARY (FEATURE):
20 Feet from Stardom
Douglas Blush, Kevin Klauber & Jason Zeldes
BEST EDITED DOCUMENTARY (TELEVISION):
American Masters: Jimi Hendrix: Hear My Train a Comin’
Stephen Ellis, Gordon Mason & Phil McDonald
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
Barbara Tulliver, A.C.E.
BEST EDITED NON-SCRIPTED SERIES:
Anthony Bourdain: Parts Unknown: Tokyo
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.