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.

###

Leave a Reply

Quote Unquotesee all »

“I am just grateful I am still around. I would love to be Steven Soderbergh, but I am lucky to be Joe Swanberg. Actors want to work with me, people want to give me money, and my nightmare scenario remains: Getting in bed with a studio, spending years on a movie, and it turns out horrible, but now I’m rich.”

Actually, by Hollywood standards, you’re right, I said. That is unambitious.

“It is, and yet, if you can go to bed happy at night, doing what you want, isn’t that ambition for a lifetime?”
~ Swanberg On Swanberg By Borelli

“In retrospect, nothing of that kind surprised me about Philip, because his intuition was luminous from the instant you met him. So was his intelligence. A lot of actors act intelligent, but Philip was the real thing: a shining, artistic polymath with an intelligence that came at you like a pair of headlights and enveloped you from the moment he grabbed your hand, put a huge arm round your neck and shoved a cheek against yours; or if the mood took him, hugged you to him like a big, pudgy schoolboy, then stood and beamed at you while he took stock of the effect.”
John le Carré on Philip Seymour Hoffman