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

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.

###

Comments are closed.

Quote Unquotesee all »

“I remember very much the iconography and the images and the statues in church were very emotional for me. Just the power of that, and even still — just seeing prayer card, what that image can evoke. I have a lot of friends that are involved in the esoteric, and I know some girls in New York that are also into the supernatural. I don’t feel that I have that gift. But I am leaning towards mysticism… Maybe men are more practical, maybe they don’t give into that as much… And then also, they don’t convene in the same way that women do. But I don’t know, I am not a man, I don’t want to speak for men. For me, I tend to gravitate towards people who are open to those kinds of things. And the idea for my film, White Echo, I guess stemmed from that — I find that the girls in New York are more credible. What is it about the way that they communicate their ideas with the supernatural that I find more credible? And that is where it began. All the characters are also based on friends of mine. I worked with Refinery29 on that film, and found that they really invest in you which is so rare in this industry.”
Chloë Sevigny

“The word I have fallen in love with lately is ‘Hellenic.’ Greek in its mythology. So while everyone is skewing towards the YouTube generation, here we are making two-and-a-half-hour movies and trying to buck the system. It’s become clear to me that we are never going to be a perfect fit with Hollywood; we will always be the renegade Texans running around trying to stir the pot. Really it’s not provocation for the sake of being provocative, but trying to make something that people fall in love with and has staying power. I think people are going to remember Dragged Across Concrete and these other movies decades from now. I do not believe that they will remember some of the stuff that big Hollywood has put out in the last couple of years. You’ve got to look at the independent space to find the movies that have been really special recently. Even though I don’t share the same world-view as some of my colleagues, I certainly respect the hell out of their movies which are way more fascinating than the stuff coming out of the studio system.”
~ Dallas Sonnier