Best Picture favorite “Oppenheimer” and “The Holdovers” were the drama and comedy editing winners at the 74th Ace Eddie Awards, March 3 at UCLA’s Royce Hall. “Oppenheimer” editor Jennifer Lame is now a step closer to winning the Oscar for deftly balancing Christopher Nolan’s interlocking, subjective POVs of J. Robert Oppenheimer (Best Actor nominee Cillian Murphy) in color and adversary Admiral Lewis Strauss (Best Supporting Actor nominee Robert Downey Jr.) in black-and-white.
The other Oscar nominees are “The Holdovers” (edited by Ace president Kevin Tent), Killers of the Flower Moon,” “Anatomy of Fall,” and “Poor Things.”
“Spider-Man: Across the Universe” won the animation award, “Still: A Michael J. Fox Movie” earned theatrical documentary honors, and “Escaping Twin Flames” took the non-theatrical prize.
TV editing winners included “The Last of Us” for drama series, “Beef” for limited series, “How I Met Your Father” for multi-camera comedy series, “The Bear” for single-camera comedy series,...
The other Oscar nominees are “The Holdovers” (edited by Ace president Kevin Tent), Killers of the Flower Moon,” “Anatomy of Fall,” and “Poor Things.”
“Spider-Man: Across the Universe” won the animation award, “Still: A Michael J. Fox Movie” earned theatrical documentary honors, and “Escaping Twin Flames” took the non-theatrical prize.
TV editing winners included “The Last of Us” for drama series, “Beef” for limited series, “How I Met Your Father” for multi-camera comedy series, “The Bear” for single-camera comedy series,...
- 3/4/2024
- by Bill Desowitz
- Indiewire
Universal’s Oppenheimer and Focus Features’ The Holdovers won the top theatrical prizes Sunday at the 74th Annual Ace Eddie Awards, presented by the American Cinema Editors at UCLA’s Royce Hall.
Ace president Kevin Tent, who presided over the event, won best edited feature film, comedy, for The Holdovers, while the drama feature award went to Oppenheimer editor Jennifer Lame.
Other theatrical winners include animated feature winner Michael Andrews for Sony’s Spider-Man: Across the Spider-Verse and documentary winner Michael Harte for Apple’s Still: A Michael J. Fox Movie. Television winners include The Bear‘s Joanna Naugle, who won for the acclaimed episode “Fishes” that featured a star-studded lineup of guest actors led by Jamie Lee Curtis; The Last of Us‘ Timothy A. Good, for the episode “Long, Long Time;” Beef‘s Harry Yoon and Laura Zempel; and How I Met Your Father‘s Russell Griffin.
The team...
Ace president Kevin Tent, who presided over the event, won best edited feature film, comedy, for The Holdovers, while the drama feature award went to Oppenheimer editor Jennifer Lame.
Other theatrical winners include animated feature winner Michael Andrews for Sony’s Spider-Man: Across the Spider-Verse and documentary winner Michael Harte for Apple’s Still: A Michael J. Fox Movie. Television winners include The Bear‘s Joanna Naugle, who won for the acclaimed episode “Fishes” that featured a star-studded lineup of guest actors led by Jamie Lee Curtis; The Last of Us‘ Timothy A. Good, for the episode “Long, Long Time;” Beef‘s Harry Yoon and Laura Zempel; and How I Met Your Father‘s Russell Griffin.
The team...
- 3/4/2024
- by Tyler Coates
- The Hollywood Reporter - Movie News
Christopher Nolan’s “Oppenheimer” topped the dramatic feature editing category at the American Cinema Editors’ 74th Ace Eddie Awards, while “The Holdovers” won the category for best edited comedic feature during Sunday’s ceremony at UCLA’s Royce Hall.
Jennifer Lame edited “Oppenheimer,” which also took top honors at last week’s SAG Awards and Producers Guild Awards. The recent honor further cements the film’s position to take top prize at the Oscars next weekend. But she faces competition from Kevin Tent, who won here for “The Holdovers.”
Should Lame go on to win the Oscar, it will mark nine years since a woman has won. Margaret Sixel won in 2015 for “Mad Max: Fury Road.”
Tent, also president of Ace, kicked off the ceremony addressing last year’s labor strikes, saying, “It’s great to look out and see so many rock star editors…Last year was an extraordinarily...
Jennifer Lame edited “Oppenheimer,” which also took top honors at last week’s SAG Awards and Producers Guild Awards. The recent honor further cements the film’s position to take top prize at the Oscars next weekend. But she faces competition from Kevin Tent, who won here for “The Holdovers.”
Should Lame go on to win the Oscar, it will mark nine years since a woman has won. Margaret Sixel won in 2015 for “Mad Max: Fury Road.”
Tent, also president of Ace, kicked off the ceremony addressing last year’s labor strikes, saying, “It’s great to look out and see so many rock star editors…Last year was an extraordinarily...
- 3/4/2024
- by Jazz Tangcay
- Variety Film + TV
Ryan Gosling as Ken and Margot Robbie as Barbie in ‘Barbie’ ((Photo Courtesy Warner Bros. Pictures)
Taylor Swift: The Eras Tour, Oppenheimer, The Bear, and Barbie are among the nominees for the 74th Annual Ace Eddie Awards, recognizing outstanding editing in film, television, and documentaries. In addition to the 14 competitive categories, the American Cinema Editors (Ace) will honor filmmaker John Waters and editors Kate Amend, Stephen Lovejoy, and Walter Murch with special awards during this year’s ceremony.
Winners will be announced at the Ace Eddie Awards to be held on Sunday, March 3, 2024 at UCLA’s Royce Hall. Drag queen, performer, and queer activist Nina West (Hairspray) will handle hosting duties.
2024 Ace Eddie Awards Nominees:
Best Edited Feature Film:
Anatomy of a Fall, Laurent Sénéchal
Killers of the Flower Moon, Thelma Schoonmaker, Ace
Maestro, Michelle Tesoro, Ace
Oppenheimer, Jennifer Lame, Ace
Past Lives, Keith Fraase
Best Edited Feature Film:
Air,...
Taylor Swift: The Eras Tour, Oppenheimer, The Bear, and Barbie are among the nominees for the 74th Annual Ace Eddie Awards, recognizing outstanding editing in film, television, and documentaries. In addition to the 14 competitive categories, the American Cinema Editors (Ace) will honor filmmaker John Waters and editors Kate Amend, Stephen Lovejoy, and Walter Murch with special awards during this year’s ceremony.
Winners will be announced at the Ace Eddie Awards to be held on Sunday, March 3, 2024 at UCLA’s Royce Hall. Drag queen, performer, and queer activist Nina West (Hairspray) will handle hosting duties.
2024 Ace Eddie Awards Nominees:
Best Edited Feature Film:
Anatomy of a Fall, Laurent Sénéchal
Killers of the Flower Moon, Thelma Schoonmaker, Ace
Maestro, Michelle Tesoro, Ace
Oppenheimer, Jennifer Lame, Ace
Past Lives, Keith Fraase
Best Edited Feature Film:
Air,...
- 1/25/2024
- by Rebecca Murray
- Showbiz Junkies
The 2024 American Cinema Editors (Ace) Eddie Award nominations have been unveiled.
As announced today, January 25, the 74th Annual Ace Eddie Awards will recognize Thelma Schoonmaker’s work on “Killers of the Flower Moon,” Jennifer Lame’s editing skills on “Oppenheimer,” Nick Houy’s vision for “Barbie,” Laurent Sénéchal for “Anatomy of a Fall,” and more nominees across drama and comedy.
The annual awards ceremony honors outstanding editing in 14 categories of film, television, and documentaries. The winners will be announced live during the Ace Eddie Awards on Sunday, March 3, 2024 at UCLA’s Royce Hall at a special brunch celebration, with “Hairspray” actress, drag queen, and queer activist Nina West hosting.
TV nominees include “The Bear,” “Succession,” “Barry,” “Ahsoka,” “The Last of Us,” and “Beef.”
“Hairspray” director John Waters will receive the Ace Golden Eddie Filmmaker of the Year Award, which recognizes filmmakers who exemplify distinguished achievement in the art and business of film.
As announced today, January 25, the 74th Annual Ace Eddie Awards will recognize Thelma Schoonmaker’s work on “Killers of the Flower Moon,” Jennifer Lame’s editing skills on “Oppenheimer,” Nick Houy’s vision for “Barbie,” Laurent Sénéchal for “Anatomy of a Fall,” and more nominees across drama and comedy.
The annual awards ceremony honors outstanding editing in 14 categories of film, television, and documentaries. The winners will be announced live during the Ace Eddie Awards on Sunday, March 3, 2024 at UCLA’s Royce Hall at a special brunch celebration, with “Hairspray” actress, drag queen, and queer activist Nina West hosting.
TV nominees include “The Bear,” “Succession,” “Barry,” “Ahsoka,” “The Last of Us,” and “Beef.”
“Hairspray” director John Waters will receive the Ace Golden Eddie Filmmaker of the Year Award, which recognizes filmmakers who exemplify distinguished achievement in the art and business of film.
- 1/25/2024
- by Samantha Bergeson
- Indiewire
The American Cinema Editors unwrapped the nominees for its 74th Eddie Awards.
Ace’s live-action theatrical feature competition is divided into two categories, for drama and comedy. Nominees in the category for best edited dramatic theatrical feature are Laurent Sénéchal for Anatomy of a Fall, Thelma Schoonmaker for Killers of the Flower Moon, Michelle Tesoro for Maestro, Jennifer Lame for Oppenheimer and Keith Fraase for Past Lives. Nominees for best edited comedic theatrical feature are William Goldenberg for Air, Hilda Rasula for American Fiction, Nick Houy for Barbie; Kevin Tent for The Holdovers and Yorgos Mavropsaridis for Poor Things.
The Eddie nominees include the five nominees for the Oscar in film editing: Anatomy of a Fall, Killers of the Flower Moon and Oppenheimer (from the drama category); and The Holdovers and Poor Things (from the comedy category). With the nomination for Killers of the Flower Moon, Martin Scorsese’s longtime...
Ace’s live-action theatrical feature competition is divided into two categories, for drama and comedy. Nominees in the category for best edited dramatic theatrical feature are Laurent Sénéchal for Anatomy of a Fall, Thelma Schoonmaker for Killers of the Flower Moon, Michelle Tesoro for Maestro, Jennifer Lame for Oppenheimer and Keith Fraase for Past Lives. Nominees for best edited comedic theatrical feature are William Goldenberg for Air, Hilda Rasula for American Fiction, Nick Houy for Barbie; Kevin Tent for The Holdovers and Yorgos Mavropsaridis for Poor Things.
The Eddie nominees include the five nominees for the Oscar in film editing: Anatomy of a Fall, Killers of the Flower Moon and Oppenheimer (from the drama category); and The Holdovers and Poor Things (from the comedy category). With the nomination for Killers of the Flower Moon, Martin Scorsese’s longtime...
- 1/25/2024
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
The American Cinema Editors (Ace) have nominated “Anatomy of a Fall,” Killers of the Flower Moon,”
“Maestro,” “Oppenheimer” and “Past Lives” in the category of feature film drama for the 74th annual Ace Eddie Awards. “Air,” “Barbie,” “American Fiction,” “Poor Things” and “The Holdovers” received nominations in the best edited comedic feature category.
The TV nominees include “The Bear,” “Barry,” “Succession,” Only Murders in the Building” and “Ahsoka.” Also landing a nomination for editing was the team behind “Taylor Swift: The Eras Tour.”
As previously announced, John Waters will receive the Ace Golden Eddie Filmmaker of the Year award. Film editors Kate Amend, Ace and Walter Murch, Ace will receive career achievement awards for their outstanding contributions to film editing. Stephen Lovejoy, Ace will receive the Heritage award for his unwavering commitment to Ace.
“RuPaul’s Drag Race” alumni and star of “Hairspray” Nina West will emcee the event. The winners...
“Maestro,” “Oppenheimer” and “Past Lives” in the category of feature film drama for the 74th annual Ace Eddie Awards. “Air,” “Barbie,” “American Fiction,” “Poor Things” and “The Holdovers” received nominations in the best edited comedic feature category.
The TV nominees include “The Bear,” “Barry,” “Succession,” Only Murders in the Building” and “Ahsoka.” Also landing a nomination for editing was the team behind “Taylor Swift: The Eras Tour.”
As previously announced, John Waters will receive the Ace Golden Eddie Filmmaker of the Year award. Film editors Kate Amend, Ace and Walter Murch, Ace will receive career achievement awards for their outstanding contributions to film editing. Stephen Lovejoy, Ace will receive the Heritage award for his unwavering commitment to Ace.
“RuPaul’s Drag Race” alumni and star of “Hairspray” Nina West will emcee the event. The winners...
- 1/25/2024
- by Jazz Tangcay
- Variety Film + TV
American Cinemas Editors has cut together the nominees for its 74rd annual Ace Eddie Awards, which will be handed out next month. See the list of all 13 film and TV categories below.
The group also said today that Nina West, who played Divine in Weird: The Al Yankovic Story and Edna Turnblad in the touring production of Hairspray, will host the March 3 ceremony at UCLA’s Royce Hall in Westwood.
Vying for the marquee prize of Best Edited Feature Film are the editors behind Anatomy of a Fall, Killers of the Flower Moon, Maestro, Oppenheimer and Past Lives. The Comedy Theatrical race will be among Air, American Fiction, Barbie, The Holdovers and Poor Things.
Since the turn of the 21st century, the Eddie winner for theatrical drama has gone on to score the Academy Award for Best Editing 13 of 23 times — but none of the past four years. In a twist,...
The group also said today that Nina West, who played Divine in Weird: The Al Yankovic Story and Edna Turnblad in the touring production of Hairspray, will host the March 3 ceremony at UCLA’s Royce Hall in Westwood.
Vying for the marquee prize of Best Edited Feature Film are the editors behind Anatomy of a Fall, Killers of the Flower Moon, Maestro, Oppenheimer and Past Lives. The Comedy Theatrical race will be among Air, American Fiction, Barbie, The Holdovers and Poor Things.
Since the turn of the 21st century, the Eddie winner for theatrical drama has gone on to score the Academy Award for Best Editing 13 of 23 times — but none of the past four years. In a twist,...
- 1/25/2024
- by Erik Pedersen
- Deadline Film + TV
Barbie leads the feature competition of the annual Hpa Awards, whose nominations in features, TV, documentaries, commercials and restoration were announced Tuesday.
The postproduction community nominated Greta Gerwig’s hit film for outstanding color grading, editing and sound. Close behind with two nominations apiece in the feature categories are Oppenheimer (color grading and editing), Guillermo del Toro’s Pinocchio (sound and visual effects), Spider-Man: Across the Spider-Verse (color grading and editing), Tár (color grading and editing) and Avatar: The Way of Water, for which teams at Weta FX and Industrial Light & Magic were both nominated in the VFX category.
The eligibility period runs from September 2022 to September 2023, which is why some of last year’s Oscar winners and contenders are nominated alongside some of the upcoming season’s contenders.
The winners will be announced during a Nov. 9 ceremony at the Hollywood Legion Theater. The complete list of nominees follows:
Outstanding...
The postproduction community nominated Greta Gerwig’s hit film for outstanding color grading, editing and sound. Close behind with two nominations apiece in the feature categories are Oppenheimer (color grading and editing), Guillermo del Toro’s Pinocchio (sound and visual effects), Spider-Man: Across the Spider-Verse (color grading and editing), Tár (color grading and editing) and Avatar: The Way of Water, for which teams at Weta FX and Industrial Light & Magic were both nominated in the VFX category.
The eligibility period runs from September 2022 to September 2023, which is why some of last year’s Oscar winners and contenders are nominated alongside some of the upcoming season’s contenders.
The winners will be announced during a Nov. 9 ceremony at the Hollywood Legion Theater. The complete list of nominees follows:
Outstanding...
- 10/3/2023
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
The good news for HBO’s critically acclaimed “The White Lotus” is that it grabbed 11 Emmy craft nominations, second only to HBO’s “The Last of Us,” which led with 12. The bad news for “The White Lotus,” which took home five craft wins last season, is that it switched from Best Anthology to Best Drama for Season 2’s transition from Hawaii to Sicily. Now it goes head to head with contemporary rivals “Succession” (HBO), “The Last of Us,” and “Wednesday” (Netflix).
To its credit, Mike White’s exotic resort hotel black comedy successfully pivoted from money to sex in Season 2 with pretty much a new ensemble cast. While its Emmy wins the first time out were primarily in the anthology category, it additionally won for de Veer’s main title theme music.
Jeremy Strong in “Succession”Courtesy of HBO
This season “White Lotus” scored noms for casting, contemporary costumes (“That...
To its credit, Mike White’s exotic resort hotel black comedy successfully pivoted from money to sex in Season 2 with pretty much a new ensemble cast. While its Emmy wins the first time out were primarily in the anthology category, it additionally won for de Veer’s main title theme music.
Jeremy Strong in “Succession”Courtesy of HBO
This season “White Lotus” scored noms for casting, contemporary costumes (“That...
- 8/20/2023
- by Bill Desowitz
- Indiewire
Kieran Culkin’s final scene on “Succession” almost perfectly mirrored his first appearance.
Speaking to The Hollywood Reporter, Emmy-nominated “Succession” director Mark Mylod revealed that the Roman actor’s last line of dialogue on the HBO drama was supposed to be, “What up, motherfucker?” The foul-mouthed greeting is how audiences were first introduced to Roman in the “Succession” pilot when he walked into a conference room and offered the same variation of hello.
“I imagine that Jesse’s intention there was to show the cyclical nature of Roman’s journey,” said Mylod, who directed the “Succession” finale but was nominated for the show’s third episode, “Connor’s Wedding,” which featured the death of Logan Roy (Emmy nominee Brian Cox). “That for all that illusion of evolution, on some level those four seasons over which we followed Roman was some kind of fever dream, and he finds himself right back where he started.
Speaking to The Hollywood Reporter, Emmy-nominated “Succession” director Mark Mylod revealed that the Roman actor’s last line of dialogue on the HBO drama was supposed to be, “What up, motherfucker?” The foul-mouthed greeting is how audiences were first introduced to Roman in the “Succession” pilot when he walked into a conference room and offered the same variation of hello.
“I imagine that Jesse’s intention there was to show the cyclical nature of Roman’s journey,” said Mylod, who directed the “Succession” finale but was nominated for the show’s third episode, “Connor’s Wedding,” which featured the death of Logan Roy (Emmy nominee Brian Cox). “That for all that illusion of evolution, on some level those four seasons over which we followed Roman was some kind of fever dream, and he finds himself right back where he started.
- 8/16/2023
- by Christopher Rosen
- Gold Derby
Underdog “King Richard” (Warner Bros.) beat the higher profile “Dune” (Warner Bros.) and “The Power of the Dog” (Netflix) for drama film editing honors at the 72nd Annual Ace Eddie Awards. The live ceremony was held Saturday at the Ace Hotel. Likewise, “Tick Tick Boom” (Netflix) prevailed over the favored “Don’t Look Up” (Netflix) in the film comedy category. Other winners included Oscar favorites “Encanto” (Disney) and “Summer of Soul” (Searchlight Pictures) for animated feature and documentary, and “Oslo” (HBO Films) for non-theatrical feature.
On the TV side, “Succession” (HBO), “Mare of Easttown” (HBO), “The Beatles: Get Back” (Disney+), “Kevin Can F**k Himself” (AMC), “Hacks” (HBO Max), and “Bob’s Burgers” (Fox) were the big winners for drama, limited series, documentary non-theatrical, multi-camera and single-camera comedy series, and non-theatrical animation, respectively. Editors Lillian E. Benson (“Eyes on the Prize”), the first woman of color to join the American Cinema Editors Society,...
On the TV side, “Succession” (HBO), “Mare of Easttown” (HBO), “The Beatles: Get Back” (Disney+), “Kevin Can F**k Himself” (AMC), “Hacks” (HBO Max), and “Bob’s Burgers” (Fox) were the big winners for drama, limited series, documentary non-theatrical, multi-camera and single-camera comedy series, and non-theatrical animation, respectively. Editors Lillian E. Benson (“Eyes on the Prize”), the first woman of color to join the American Cinema Editors Society,...
- 3/6/2022
- by Bill Desowitz
- Indiewire
“King Richard” editor Pamela Martin topped the dramatic feature editing category at the American Cinema Editors 72nd Ace Eddie Awards, while “Tick, Tick … Boom!’s” Myron Kerstein and Andrew Weisblum won the category for best edited comedic feature during Saturday’s in-person ceremony at the Ace Hotel in Los Angeles.
“It’s a great honor to be recognized by my peers, most importantly,” Martin told Variety before the ceremony. “I’m over the moon and I’m so grateful to be in such wonderful, talented company from the other nominees.”
Michelle Statter accepted the prestigious Ace Golden Eddie Award — recognizing an artist or company for distinguished achievement in film — on behalf of The Sundance Institute. Film editors Lillian E. Benson, ACE and Richard Chew, ACE received Career Achievement Awards for their outstanding contributions to film editing. The event was hosted by DJ Lance Rock and presided over by ACE President Kevin Tent,...
“It’s a great honor to be recognized by my peers, most importantly,” Martin told Variety before the ceremony. “I’m over the moon and I’m so grateful to be in such wonderful, talented company from the other nominees.”
Michelle Statter accepted the prestigious Ace Golden Eddie Award — recognizing an artist or company for distinguished achievement in film — on behalf of The Sundance Institute. Film editors Lillian E. Benson, ACE and Richard Chew, ACE received Career Achievement Awards for their outstanding contributions to film editing. The event was hosted by DJ Lance Rock and presided over by ACE President Kevin Tent,...
- 3/6/2022
- by Jazz Tangcay
- Variety Film + TV
“King Richard” and “tick, tick…Boom!” have been named the best-edited feature films of 2021 by the American Cinema Editors, which held its annual Ace-Eddie Awards on Saturday at, appropriately enough, the Ace Hotel in downtown Los Angeles.
“King Richard” beat fellow Oscar nominees “Dune” (the presumed favorite) and “The Power of the Dog” to win in the drama category, while “tick, tick…Boom!” beat the Oscar-nominated “Don’t Look Up” in the comedy category.
In the 22 years since Ace split its film award into separate drama and comedy categories, one of its winners has gone on to win the Oscar for Best Film Editing 15 times. All but one of those wins have come in the drama category. Last year’s winner, “The Trial of the Chicago 7,” lost the Oscar to “Sound of Metal.”
In the documentary categories, music docs ruled, with “Summer of Soul” taking the prize for documentary feature...
“King Richard” beat fellow Oscar nominees “Dune” (the presumed favorite) and “The Power of the Dog” to win in the drama category, while “tick, tick…Boom!” beat the Oscar-nominated “Don’t Look Up” in the comedy category.
In the 22 years since Ace split its film award into separate drama and comedy categories, one of its winners has gone on to win the Oscar for Best Film Editing 15 times. All but one of those wins have come in the drama category. Last year’s winner, “The Trial of the Chicago 7,” lost the Oscar to “Sound of Metal.”
In the documentary categories, music docs ruled, with “Summer of Soul” taking the prize for documentary feature...
- 3/6/2022
- by Steve Pond
- The Wrap
The American Cinema Editors (Ace) has nominated “Belfast,” “Dune,” “King Richard,” “No Time to Die” and “The Power of the Dog” in the category of feature film drama at the 72nd annual Ace Eddie Awards.
In the best edited comedic feature category, “Cruella,” “Don’t Look Up,” “The French Dispatch,” “Licorice Pizza” and “Tick, Tick…Boom!” all received nominations.
Among the animated features nominated were “Encanto,” “Luca,” “The Mitchells vs. the Machines,” “Raya and the Last Dragon” and “Sing 2.” The TV nominees include “Succession” and “The White Lotus.”
The Eddies are considered a precursor for the best picture and best editing categories at the Oscars. Five of the past 11 winners for best edited drama feature went on to win the film editing Oscar.
Since 1961, only 10 women have won in the best edited drama feature category. This year, there are two women who made the cut: Pamela Martin (“King Richard”) and...
In the best edited comedic feature category, “Cruella,” “Don’t Look Up,” “The French Dispatch,” “Licorice Pizza” and “Tick, Tick…Boom!” all received nominations.
Among the animated features nominated were “Encanto,” “Luca,” “The Mitchells vs. the Machines,” “Raya and the Last Dragon” and “Sing 2.” The TV nominees include “Succession” and “The White Lotus.”
The Eddies are considered a precursor for the best picture and best editing categories at the Oscars. Five of the past 11 winners for best edited drama feature went on to win the film editing Oscar.
Since 1961, only 10 women have won in the best edited drama feature category. This year, there are two women who made the cut: Pamela Martin (“King Richard”) and...
- 1/27/2022
- by Jazz Tangcay
- Variety Film + TV
The American Cinema Editors has spliced together the nominees for its 72nd annual Ace Eddie Awards.
The editors behind Belfast, Dune, King Richard, No Time to Die and The Power of the Dog will compete for Best Edited Dramatic Feature Film. Up for Comedy Feature are Cruella, Don’t Look Up, The French Dispatch, Licorice Pizza and tick, tick…Boom! The Animated Feature race will be among Encanto, Luca, The Mitchells vs. the Machines, Raya and the Last Dragon
and Sing 2.
Vying in the Documentary Feature competition are Flee, The Rescue, Summer of Soul, Val and The Velvet Underground. See the full list of the Eddie Award nominations below.
Trophies will be presented during the guild’s awards ceremony on March 5 at the Theatre at the Ace Hotel in Los Angeles. The half-capacity show originally was set for February 26.
A highlight on the TV side is Kevin Can F**k Himself,...
The editors behind Belfast, Dune, King Richard, No Time to Die and The Power of the Dog will compete for Best Edited Dramatic Feature Film. Up for Comedy Feature are Cruella, Don’t Look Up, The French Dispatch, Licorice Pizza and tick, tick…Boom! The Animated Feature race will be among Encanto, Luca, The Mitchells vs. the Machines, Raya and the Last Dragon
and Sing 2.
Vying in the Documentary Feature competition are Flee, The Rescue, Summer of Soul, Val and The Velvet Underground. See the full list of the Eddie Award nominations below.
Trophies will be presented during the guild’s awards ceremony on March 5 at the Theatre at the Ace Hotel in Los Angeles. The half-capacity show originally was set for February 26.
A highlight on the TV side is Kevin Can F**k Himself,...
- 1/27/2022
- by Erik Pedersen
- Deadline Film + TV
“Belfast,” “Dune,” “King Richard,” “No Time to Die” and “The Power of the Dog” have been nominated as the best dramatic film editing of 2021 by the American Cinema Editors, which announced the nominees for the 72nd annual Ace Eddie Awards on Thursday.
Those five films will compete in the Best Edited Feature Film (Dramatic) category, while the field in Best Edited Feature Film (Comedy) will consist of “Cruella,” “Don’t Look Up,” “The French Dispatch,” “Licorice Pizza” and “tick, tick…Boom!”
The most surprising omission was probably “West Side Story,” while Ace Eddie voters also bypassed “Nightmare Alley,” “Coda” and “Spider-Man: No Way Home.”
Nominations for the editing of animated features went to the same five animated films that have also been nominated by the Cinema Audio Society, Motion Picture Sound Editors, Visual Effects Society and Art Directors Guild: “Encanto,” “Luca,” “The Mitchells vs. the Machines,” “Raya and the Last Dragon” and “Sing 2.
Those five films will compete in the Best Edited Feature Film (Dramatic) category, while the field in Best Edited Feature Film (Comedy) will consist of “Cruella,” “Don’t Look Up,” “The French Dispatch,” “Licorice Pizza” and “tick, tick…Boom!”
The most surprising omission was probably “West Side Story,” while Ace Eddie voters also bypassed “Nightmare Alley,” “Coda” and “Spider-Man: No Way Home.”
Nominations for the editing of animated features went to the same five animated films that have also been nominated by the Cinema Audio Society, Motion Picture Sound Editors, Visual Effects Society and Art Directors Guild: “Encanto,” “Luca,” “The Mitchells vs. the Machines,” “Raya and the Last Dragon” and “Sing 2.
- 1/27/2022
- by Steve Pond
- The Wrap
“All The Bells Say,” the title of the Season 3 finale of “Succession,” comes from John Berryman’s poem “Dream Song 29” — but the full line is “All the bells say: too late.” And too late is how it goes for a lot of things in the episode. The Roy siblings’ unsuccessful attempt to “coup” their father, of course, comes too late, but out of time too are Tom’s (Matthew Macfadyen) patience within his own marriage, Roman’s (Kieran Culkin) hopes that he has changed his relationship with his father, and Waystar Royco’s ability to eat instead of being eaten. Director Mark Mylod’s ability to keep wide-ranging freedom of movement within scenes — hallmarks of the series’ blocking and composition — while still pulling the noose tighter around the Roys’ necks is part of what makes the episode’s emotional journey so grueling, and so outstanding.
Mylod spoke to IndieWire about...
Mylod spoke to IndieWire about...
- 12/15/2021
- by Sarah Shachat
- Indiewire
“Deep Dive” is a in-depth podcast and video essay series with the stars, creators and crafts team behind an exceptional piece of filmmaking. For this edition, the IndieWire Crafts team partnered with HBO to take a closer look at the Season 2 finale, Episode 10 of “Succession” — “This Is Not for Tears” — with creator Jesse Armstrong, executive producer and director Mark Mylod, actors Brian Cox and Jeremy Strong, as well as seven members of the crafts team.
It was the season finale that had everyone talking, with an ending that was both shocking and, in retrospect, a completely logical conclusion for Logan (Brian Cox), Kendall (Jeremy Strong), and the rest of the Roy family. Now climb aboard their $150 million yacht to find out how such a perfect episode of television was made.
In the podcast below, the filmmakers, along with actors Brian Cox and Jeremy Strong, pull back the curtain on filming...
It was the season finale that had everyone talking, with an ending that was both shocking and, in retrospect, a completely logical conclusion for Logan (Brian Cox), Kendall (Jeremy Strong), and the rest of the Roy family. Now climb aboard their $150 million yacht to find out how such a perfect episode of television was made.
In the podcast below, the filmmakers, along with actors Brian Cox and Jeremy Strong, pull back the curtain on filming...
- 8/25/2020
- by Chris O'Falt
- Indiewire
HBO's Succession, the story of a ridiculously f*cked up but somewhat endearing (at times) family, just scored an impressive 18 Emmy nominations for the 2020 ceremony, airing in September. The show about a modern-day dynasty earned nods across the acting categories as well as plenty in the behind-the-scenes ones as well. Succession also got its second nomination in as many years for outstanding drama series.
In the 2019 ceremony, where Succession was celebrated for its first season, the show nabbed five nominations, taking home the awards for outstanding writing for a drama series and outstanding original main title theme music. This year, however, the show more than quadrupled its previous nominations (though Watchmen still earned more). All of your faves in the show scored an acting nod, though some find themselves competing against each other. We'll have to wait until Sept. 28 to see how many of these 18 awards the show brings home to HBO,...
In the 2019 ceremony, where Succession was celebrated for its first season, the show nabbed five nominations, taking home the awards for outstanding writing for a drama series and outstanding original main title theme music. This year, however, the show more than quadrupled its previous nominations (though Watchmen still earned more). All of your faves in the show scored an acting nod, though some find themselves competing against each other. We'll have to wait until Sept. 28 to see how many of these 18 awards the show brings home to HBO,...
- 7/29/2020
- by Hedy Phillips
- Popsugar.com
The American Cinema Editors (Ace) revealed the nominations for their 64th Annual Ace Eddie Awards for all categories including film, television, and documentaries. We'll find out the winners on Feb. 7 with the Ace Eddie Awards annual ceremony to be held at the Beverly Hilton Hotel.
Here's your full list of nominees of the 64th Annual Ace Eddie Awards:
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...
Here's your full list of nominees of the 64th Annual Ace Eddie Awards:
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...
- 1/10/2014
- by Manny
- Manny the Movie Guy
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.
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.
The Ace Eddie Award nominees are listed below.
Nominees For 64th Annual Ace Eddie Awards
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,...
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.
The Ace Eddie Award nominees are listed below.
Nominees For 64th Annual Ace Eddie Awards
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,...
- 1/10/2014
- by Michelle McCue
- WeAreMovieGeeks.com
12 Years A Slave, American Hustle and Breaking Bad are among the nominees in the drama, comedy/musical and one-hour commercial TV categories for the 64th Ace Eddie Awards. The American Cinema Editors revealed their nominees today. Here’s the full list of finalists, with the winners to be revealed in a ceremony February 7 at the Beverly Hilton: 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...
- 1/10/2014
- by THE DEADLINE TEAM
- Deadline TV
The American Cinema Editors (Ace) have picked the best edited films of 2009. "The Hurt Locker," "The Hangover," and "Up" won feature film competitions at the 60th annual Ace Eddie Awards.
"The Hurt Locker" won the dramatic category, "The Hangover" won for comedy or musical, and "Up" for the best animated feature film. "The Cove" won for best edited documentary.
Here's the complete list of Ace Eddie winners (For complete list of nominees, click here):
Best Edited Feature Film (Dramatic):
.The Hurt Locker.
Bob Murawski & Chris Innis
Best Edited Feature Film (Comedy Or Musical):
.The Hangover.
Debra Neil-Fisher, A.C.E.
Best Edited Animated Feature Film
.Up.
Kevin Nolting
Best Edited Documentary
.The Cove.
Geoffrey Richman
Best Edited Half-hour Series For Television
30 Rock: .Apollo Apollo.
Ken Eluto, A.C.E.
Best Edited One-hour Series For Commercial Television
Breaking Bad: .Abq.
Lynne Willingham, A.C.E.
Best Edited...
"The Hurt Locker" won the dramatic category, "The Hangover" won for comedy or musical, and "Up" for the best animated feature film. "The Cove" won for best edited documentary.
Here's the complete list of Ace Eddie winners (For complete list of nominees, click here):
Best Edited Feature Film (Dramatic):
.The Hurt Locker.
Bob Murawski & Chris Innis
Best Edited Feature Film (Comedy Or Musical):
.The Hangover.
Debra Neil-Fisher, A.C.E.
Best Edited Animated Feature Film
.Up.
Kevin Nolting
Best Edited Documentary
.The Cove.
Geoffrey Richman
Best Edited Half-hour Series For Television
30 Rock: .Apollo Apollo.
Ken Eluto, A.C.E.
Best Edited One-hour Series For Commercial Television
Breaking Bad: .Abq.
Lynne Willingham, A.C.E.
Best Edited...
- 2/16/2010
- by Manny
- Manny the Movie Guy
Here are the winners for the American Cinema Editors' 60th Annual Ace Eddie Awards announced Monday evening. They were announced tonight in a ceremony at the Beverly Hilton Hotel. This is funny -- these folks are so good at editing that the night ended much earlier than scheduled! Best Edited Feature Film (Dramatic): The Hurt Locker Bob Murawski & Chris Innis Best Edited Feature Film (Comedy Or Musical): The Hangover Debra Neil-Fisher, A.C.E. Best Edited Animated Feature Film: Up Kevin Nolting Best Edited Half-hour Series For Television: 30 Rock: "Apollo Apollo" Ken Eluto, A.C.E. Best Edited One-hour Series For Commercial Television: Breaking Bad: "Abq" Lynne Willingham, A.C.E. Best Edited One-hour Series For Non-commercial Television: Dexter: "Remains to be [...]...
- 2/15/2010
- by Nikki Finke
- Deadline Hollywood
The editors of "The Hurt Locker," "The Hangover" and "Up" won feature film competitions Sunday at the 60th annual American Cinema Editors Eddie Awards at the Beverly Hilton.
"The Hurt Locker" editors, husband-and-wife team Bob Murawski and Chris Innis, earned the trophy for a dramatic film, topping a category that included "Avatar," "District 9," "Star Trek" and "Up in the Air."
"It's a great way to spend Valentine's Day, to win an award with my wife," Murawski said onstage, adding with a smile, "she did most of the work."
"The Hangover" editor Debra Neil-Fisher, Ace, topped the category for comedy or musical, which included nominees "500 Days of Summer," "Julie & Julia," "A Serious Man" and "It's Complicated."
Editor Kevin Nolting earned the award for best edited animated feature for "Up," leading a group that included "Coraline" and "Fantastic Mr. Fox." Additionally, "The Cove" editor Geoffrey Richman won best edited documentary, a...
"The Hurt Locker" editors, husband-and-wife team Bob Murawski and Chris Innis, earned the trophy for a dramatic film, topping a category that included "Avatar," "District 9," "Star Trek" and "Up in the Air."
"It's a great way to spend Valentine's Day, to win an award with my wife," Murawski said onstage, adding with a smile, "she did most of the work."
"The Hangover" editor Debra Neil-Fisher, Ace, topped the category for comedy or musical, which included nominees "500 Days of Summer," "Julie & Julia," "A Serious Man" and "It's Complicated."
Editor Kevin Nolting earned the award for best edited animated feature for "Up," leading a group that included "Coraline" and "Fantastic Mr. Fox." Additionally, "The Cove" editor Geoffrey Richman won best edited documentary, a...
- 2/14/2010
- by By Carolyn Giardina
- The Hollywood Reporter - Movie News
The American Cinema Editors have released their nominations for the 2010 Ace Eddie Awards and sci-fi films dominated the Feature Film category.
Winners will be revealed on Feb. 14th at the Beverly Hilton Hotel. And there's a strong chance that the winner of the Ace Eddie will also win the Oscar for Best Editing.
Here are the nominees for the 60th Annual Ace Eddie Awards:
Best Edited Feature Film (Dramatic):
Avatar
Stephen Rivkin, A.C.E., John Refoua, A.C.E. &
James Cameron, A.C.E.
District 9
Julian Clarke
The Hurt Locker
Bob Murawski & Chris Innis
Star Trek
Maryann Brandon, A.C.E. & Mary Jo Markey, A.C.E.
Up in the Air
Dana Glauberman, A.C.E.
Best Edited Feature Film (Comedy Or Musical):
500 Days of Summer
Alan Edward Bell
The Hangover
Debra Neil-Fisher, A.C.E.
Julie & Julia
Richard Marks, A.C.E.
A Serious Man...
Winners will be revealed on Feb. 14th at the Beverly Hilton Hotel. And there's a strong chance that the winner of the Ace Eddie will also win the Oscar for Best Editing.
Here are the nominees for the 60th Annual Ace Eddie Awards:
Best Edited Feature Film (Dramatic):
Avatar
Stephen Rivkin, A.C.E., John Refoua, A.C.E. &
James Cameron, A.C.E.
District 9
Julian Clarke
The Hurt Locker
Bob Murawski & Chris Innis
Star Trek
Maryann Brandon, A.C.E. & Mary Jo Markey, A.C.E.
Up in the Air
Dana Glauberman, A.C.E.
Best Edited Feature Film (Comedy Or Musical):
500 Days of Summer
Alan Edward Bell
The Hangover
Debra Neil-Fisher, A.C.E.
Julie & Julia
Richard Marks, A.C.E.
A Serious Man...
- 1/12/2010
- by Manny
- Manny the Movie Guy
As the nominations were unveiled Tuesday morning for the American Cinema Editors' 60th annual Ace Eddie Awards, this year's awards season is looking more and more like a Hollywood version of Comic-Con.
Just like the Art Directors Guild, the editors organization nominated "Avatar," "District 9" and "Star Trek."
Those three movies will compete for best edited dramatic feature film along with "The Hurt Locker" and "Up in the Air."
Two Meryl Streep vehicles -- "Julie & Julia" and "It's Complicated" -- were nominated in the best comedy or musical category along with "(500) Days of Summer," "The Hangover" and "A Serious Man."
For best animated film, the contenders are "Coraline," "Fantastic Mr. Fox" and "Up."
"This Is It," the Michael Jackson documentary, scored a slot in Ace's best documentary race alongside "The Cove" and "Food, Inc."
An honorary society of motion picture editors founded in 1950, Ace's noms usually point toward Oscar victory...
Just like the Art Directors Guild, the editors organization nominated "Avatar," "District 9" and "Star Trek."
Those three movies will compete for best edited dramatic feature film along with "The Hurt Locker" and "Up in the Air."
Two Meryl Streep vehicles -- "Julie & Julia" and "It's Complicated" -- were nominated in the best comedy or musical category along with "(500) Days of Summer," "The Hangover" and "A Serious Man."
For best animated film, the contenders are "Coraline," "Fantastic Mr. Fox" and "Up."
"This Is It," the Michael Jackson documentary, scored a slot in Ace's best documentary race alongside "The Cove" and "Food, Inc."
An honorary society of motion picture editors founded in 1950, Ace's noms usually point toward Oscar victory...
- 1/11/2010
- by By Gregg Kilday
- The Hollywood Reporter - Movie News
It's a good day for funny people, especially if your name is Tina Fey or Seth MacFarlane.
Fey's series, 30 Rock, was handed 22 Emmy nominations this morning, which stands as a record for a comedy series. She and Alec Baldwin were also nominated for acting awards. Plus, for the first time some of the other actors on NBC's laffer were recognized. Jane Krakowski, Jack McBrayer and Tracy Morgan all picked up supporting nominations.
MacFarlane's Family Guy was also nominated for best comedy series, the first time an animated show has cracked that category since The Flintstones in 1961. Two years ago MacFarlane decided to pull his show from contention in the animated series category to have it considered for best comedy.
Mad Men, the drama about the advertising world in the sixties, picked up 16 nominations in the drama categories, including a best actor nod for Jon Hamm. Hamm is also nominated as...
Fey's series, 30 Rock, was handed 22 Emmy nominations this morning, which stands as a record for a comedy series. She and Alec Baldwin were also nominated for acting awards. Plus, for the first time some of the other actors on NBC's laffer were recognized. Jane Krakowski, Jack McBrayer and Tracy Morgan all picked up supporting nominations.
MacFarlane's Family Guy was also nominated for best comedy series, the first time an animated show has cracked that category since The Flintstones in 1961. Two years ago MacFarlane decided to pull his show from contention in the animated series category to have it considered for best comedy.
Mad Men, the drama about the advertising world in the sixties, picked up 16 nominations in the drama categories, including a best actor nod for Jon Hamm. Hamm is also nominated as...
- 7/16/2009
- CinemaSpy
Editfest, a weekend seminar focusing on the craft and business of editing, which first took place last year in Los Angeles, is expanding to New York, where it will take place Friday and Saturday, June 12 and 13 at the Directors Guild of America at 110 W. 57th Street.
American Cinema Editors and Manhattan Edit Workshop are co-producing the two-day event.
"One of Ace's highest priorities is to help educate and mentor the next generation of editors," Ace president Randy Roberts said. "Editfest is a unique opportunity for attendees to spend time with some of the most accomplished editors working in film and television today."
Confirmed panelists include: Michael Berenbaum; Scott Brock; Robert Eisenhardt; Ken Eluto; Alexander Hall; Tom Haneke; Brian Kates; Anne McCabe; Craig McKay; Bill Pankow; Lee Percy; Sam Pollard; Jay Rabinowitz; Meg Reticker; Stephen Rotter; Kate Sanford; Karen Schmeer; Larry Silk; Tim Squyres; Kate Sanford; Thelma Schoonmaker; Troy Takaki; Chris...
American Cinema Editors and Manhattan Edit Workshop are co-producing the two-day event.
"One of Ace's highest priorities is to help educate and mentor the next generation of editors," Ace president Randy Roberts said. "Editfest is a unique opportunity for attendees to spend time with some of the most accomplished editors working in film and television today."
Confirmed panelists include: Michael Berenbaum; Scott Brock; Robert Eisenhardt; Ken Eluto; Alexander Hall; Tom Haneke; Brian Kates; Anne McCabe; Craig McKay; Bill Pankow; Lee Percy; Sam Pollard; Jay Rabinowitz; Meg Reticker; Stephen Rotter; Kate Sanford; Karen Schmeer; Larry Silk; Tim Squyres; Kate Sanford; Thelma Schoonmaker; Troy Takaki; Chris...
American Cinema Editors have announced 10 feature film nominations for the 58th annual ACE Eddie Awards, set for Feb. 16 at the Beverly Hilton.
Christopher Rouse for The Bourne Ultimatum, Jay Cassidy for Into the Wild, John Gilroy for Michael Clayton, Roderick Jaynes for No Country for Old Men and Dylan Tichenor for There Will Be Blood will compete for best edited dramatic feature.
Nominees for best edited feature, comedy or musical are Michael Tronick for Hairspray, Dana E. Glauberman for Juno, Craig Wood and Stephen Rivkin for Pirates of the Caribbean: At World's End, Darren Holmes for Ratatouille and Chris Lebenzon for Sweeney Todd: The Demon Barber of Fleet Street.
Two-thirds of the films that won Eddies during the past 15 years have also been best picture nominees.
Competing in the documentary category are Edgar Burcksen & Leonard Feinstein for Darfur Now, Leslie Iwerks & Stephen Myers for The Pixar Story and Geoffrey Richman, Chris Seward & Dan Swietlik for Sicko.
In television, the nominees for half-hour series are Ken Eluto for 30 Rock (The C Word episode), Shannon Mitchell for Californication (Hell-A Woman) and Grady Cooper for Curb Your Enthusiasm (The Bat Mitzvah). Contenders for their work on one-hour series for commercial TV are Norman Buckley for Chuck (Pilot), Malcolm Jamieson for Damages (Pilot) and Karen Stern for Law & Order: SVU (Paternity).
Stewart Schill for Dexter (It's Alive), David Siegel for Rome (De Patre Vostro) and Sidney Wolinsky for The Sopranos (Made in America) are nominated for one-hour series for non-commercial TV.
Christopher Rouse for The Bourne Ultimatum, Jay Cassidy for Into the Wild, John Gilroy for Michael Clayton, Roderick Jaynes for No Country for Old Men and Dylan Tichenor for There Will Be Blood will compete for best edited dramatic feature.
Nominees for best edited feature, comedy or musical are Michael Tronick for Hairspray, Dana E. Glauberman for Juno, Craig Wood and Stephen Rivkin for Pirates of the Caribbean: At World's End, Darren Holmes for Ratatouille and Chris Lebenzon for Sweeney Todd: The Demon Barber of Fleet Street.
Two-thirds of the films that won Eddies during the past 15 years have also been best picture nominees.
Competing in the documentary category are Edgar Burcksen & Leonard Feinstein for Darfur Now, Leslie Iwerks & Stephen Myers for The Pixar Story and Geoffrey Richman, Chris Seward & Dan Swietlik for Sicko.
In television, the nominees for half-hour series are Ken Eluto for 30 Rock (The C Word episode), Shannon Mitchell for Californication (Hell-A Woman) and Grady Cooper for Curb Your Enthusiasm (The Bat Mitzvah). Contenders for their work on one-hour series for commercial TV are Norman Buckley for Chuck (Pilot), Malcolm Jamieson for Damages (Pilot) and Karen Stern for Law & Order: SVU (Paternity).
Stewart Schill for Dexter (It's Alive), David Siegel for Rome (De Patre Vostro) and Sidney Wolinsky for The Sopranos (Made in America) are nominated for one-hour series for non-commercial TV.
- 1/12/2008
- The Hollywood Reporter - Movie News
PARK CITY -- Remember Woody Allen's quirky paranoid character in "Annie Hall" and how he saw anti-Semitism in the most far-fetched associations? Well, filmmaker Marc Levin rounds up the current lunatic fringe of anti-Semites, as well as the scarier establishment hatemongers, and encapsulates a post 9/11 morphism of this hideous problem. Woody's character, we see, had more to be worried about than he even envisioned.
As a documentarian, Levin is a combo David Susskind and Michael Moore, a serious social thinker with a daft sense of humor and a flair for ambushing knuckleheads. Best, Levin, who directed "Slam" (a Sundance jury prize winner), appreciates that one need not be solemn to be serious. "Protocols of Zion" is often funny, revealing the idiocy of hatemongers through their own harebrained explanations.
Based on the book, "The Protocols of the Elders of Zion," a work of high balderdash that purported to be the minutes of a secret meting of Jewish elders at the end of the 19th century and their master plan to rule the world, Levin debunks that tract as well as the religious fanaticism and zealotry it has unleashed.
To Levin's astonishment the" Protocols" has been revived in the post 9/11 days, and in its tracts, fanatics have attempted to blame Jews for the murderous atrocity of the World Trade Center horror. With its subject mater, the film's most hospitable venue will be in big-city festival sites.
In this editorial essay, Levin engages a wide range of zealots -- neo-Nazis, Kabbalist rabbis, Holocaust deniers, Black nationalists, etc. -- and, essentially, gives them enough rope to hang their imbecilic utterances. As an interviewer, Levin is skilled and affable and builds momentum as he reports even scarier anti-Semitic tirades, including a speech from the Malaysian prime minister.
Occasionally, Levin's ambition exceeds his cinematic grasp: The film is somewhat scattergun in its blend of history and contemporary phenomenon, including a glib inclusion of Mel Gibson's "The Passion of Christ" as an inflammatory tract.
Crisply edited by Ken Eluto and buoyed by Levin's incisive intelligence and wit, including some compelling ruminations with his father Al, 'Protocols of Zion" found an appreciative festival audience here at Sundance.
PROTOCOLS OF ZION
HBO Cinemax Documentary Films
Credits:
Producers: Marc Levin, Steven Kalafer
Director : Marc Levin
Co-producer: Jennifer Tuft
Executive producer: Jeff Herr
Supervising producer: Daphne Pinkerson
Director of photography: Mark Benjamin
Editor: Ken Eluto
Music: John Zorn
Associate producer: Daniel Praid
Field producer: Michael Skolnik
Production coordinators: Emily Gann, Sarah Hood
For HBO
Producer executive producer: Sheila Nevins
Supervising producer:Nancy Abraham
Associate producer: Danielle Schleif
Running time -- 90 minutes...
As a documentarian, Levin is a combo David Susskind and Michael Moore, a serious social thinker with a daft sense of humor and a flair for ambushing knuckleheads. Best, Levin, who directed "Slam" (a Sundance jury prize winner), appreciates that one need not be solemn to be serious. "Protocols of Zion" is often funny, revealing the idiocy of hatemongers through their own harebrained explanations.
Based on the book, "The Protocols of the Elders of Zion," a work of high balderdash that purported to be the minutes of a secret meting of Jewish elders at the end of the 19th century and their master plan to rule the world, Levin debunks that tract as well as the religious fanaticism and zealotry it has unleashed.
To Levin's astonishment the" Protocols" has been revived in the post 9/11 days, and in its tracts, fanatics have attempted to blame Jews for the murderous atrocity of the World Trade Center horror. With its subject mater, the film's most hospitable venue will be in big-city festival sites.
In this editorial essay, Levin engages a wide range of zealots -- neo-Nazis, Kabbalist rabbis, Holocaust deniers, Black nationalists, etc. -- and, essentially, gives them enough rope to hang their imbecilic utterances. As an interviewer, Levin is skilled and affable and builds momentum as he reports even scarier anti-Semitic tirades, including a speech from the Malaysian prime minister.
Occasionally, Levin's ambition exceeds his cinematic grasp: The film is somewhat scattergun in its blend of history and contemporary phenomenon, including a glib inclusion of Mel Gibson's "The Passion of Christ" as an inflammatory tract.
Crisply edited by Ken Eluto and buoyed by Levin's incisive intelligence and wit, including some compelling ruminations with his father Al, 'Protocols of Zion" found an appreciative festival audience here at Sundance.
PROTOCOLS OF ZION
HBO Cinemax Documentary Films
Credits:
Producers: Marc Levin, Steven Kalafer
Director : Marc Levin
Co-producer: Jennifer Tuft
Executive producer: Jeff Herr
Supervising producer: Daphne Pinkerson
Director of photography: Mark Benjamin
Editor: Ken Eluto
Music: John Zorn
Associate producer: Daniel Praid
Field producer: Michael Skolnik
Production coordinators: Emily Gann, Sarah Hood
For HBO
Producer executive producer: Sheila Nevins
Supervising producer:Nancy Abraham
Associate producer: Danielle Schleif
Running time -- 90 minutes...
- 1/28/2005
- The Hollywood Reporter - Movie News
Sundance Film Festival
PARK CITY -- Few events in American history have the air of mystery, intrigue and tragedy that surrounds the execution of Julius and Ethel Rosenberg in 1953 for supplying atomic secrets to the Russians. In "Heir to an Execution", Ivy Meeropol, granddaughter of the Rosenbergs, grapples with the personal ramifications of these very public events in full view of anyone interested in watching. And who could turn away from a story so compelling and full of Shakespearean drama? The production should generate more than enough interest to power a healthy theatrical run.
Ethel and Julius Rosenberg become icons known as "the Atom Spies." Picasso painted them. But as Julius' old friend and co-defendant Morton Sobell says, "They were very ordinary people". It is Meeropol's search for the everyday aspect of the grandparents she never knew that propels the documentary.
We learn that Julius was a Brooklyn Dodgers fan, and Ethel doted on her two sons, Robert and Michael. Of course, like many intellectuals of the time, they were fervent communists, but what they did or did not do is not the question Meeropol is trying to answer. Another film will have to tackle that question. This is a family story.
Shortly after the execution, 10-year-old Robert, Ivy's father, and 6-year-old Michael were adopted by a good lefty couple, Anne and Abel Meeropol. None of the many siblings of Julius or Ethel would come forward to take in the kids. When Ivy tries to make contact with her long-lost cousins, only one would agree to be interviewed on camera, where he breaks down and apologizes for the family's neglect.
Robert serves as Ivy's conscience and sounding board and the source of much of the information. One of the curiosities of the film is that he is seemingly a happy and well-adjusted person. Together he and Ivy go to the apartment on New York's Lower East Side where the Rosenbergs lived before the FBI came to arrest Ethel and Julius in 1951. Robert is spooked to think that the agents rode in this very elevator to get his parents. Then, in the kitchen, Ivy strikes a pose made famous by Ethel, and to make the connection, the film cuts to the original photo. The filmmaker is sharing her intensely private moment with the audience.
Pieces of the puzzle are laid out by friends and colleagues, most notably 103-year-old Harry Steingart, who says that the Rosenbergs could have gotten off by naming names, including his own, but to their credit remained silent. Richard Nixon, J. Edgar Hoover and Joseph McCarthy are among the scoundrels who make appearances via newsreels and suggest the pernicious tenor of the times.
Meeropol, a writer by trade, is not always the most assured interviewer or graceful filmmaker. Some scenes go on too long and miss the mark, others have less impact than they should. But her openness and willingness to go anywhere, and to take along a public that has long been intrigued by this story, is the film's real strength. And when, at the end, Meeropol finally visits her grandparents' grave and places a stone on the headstone to mark the site, as is the Jewish tradition, there is not likely to be a dry eye in the house.
HEIR TO AN EXECUTION
Blowback Prods.
Credits:
Director: Ivy Meeropol
Producers: Marc Levin, Daphne Pinkerson, Ivy Meeropol, Sheila Nevins
Directors of photography: Matthew Akers, Ivy Meeropol
Music: Human
Editors: Ken Eluto, Eric Seuel Davies
Running time -- 98 minutes
No MPAA rating...
PARK CITY -- Few events in American history have the air of mystery, intrigue and tragedy that surrounds the execution of Julius and Ethel Rosenberg in 1953 for supplying atomic secrets to the Russians. In "Heir to an Execution", Ivy Meeropol, granddaughter of the Rosenbergs, grapples with the personal ramifications of these very public events in full view of anyone interested in watching. And who could turn away from a story so compelling and full of Shakespearean drama? The production should generate more than enough interest to power a healthy theatrical run.
Ethel and Julius Rosenberg become icons known as "the Atom Spies." Picasso painted them. But as Julius' old friend and co-defendant Morton Sobell says, "They were very ordinary people". It is Meeropol's search for the everyday aspect of the grandparents she never knew that propels the documentary.
We learn that Julius was a Brooklyn Dodgers fan, and Ethel doted on her two sons, Robert and Michael. Of course, like many intellectuals of the time, they were fervent communists, but what they did or did not do is not the question Meeropol is trying to answer. Another film will have to tackle that question. This is a family story.
Shortly after the execution, 10-year-old Robert, Ivy's father, and 6-year-old Michael were adopted by a good lefty couple, Anne and Abel Meeropol. None of the many siblings of Julius or Ethel would come forward to take in the kids. When Ivy tries to make contact with her long-lost cousins, only one would agree to be interviewed on camera, where he breaks down and apologizes for the family's neglect.
Robert serves as Ivy's conscience and sounding board and the source of much of the information. One of the curiosities of the film is that he is seemingly a happy and well-adjusted person. Together he and Ivy go to the apartment on New York's Lower East Side where the Rosenbergs lived before the FBI came to arrest Ethel and Julius in 1951. Robert is spooked to think that the agents rode in this very elevator to get his parents. Then, in the kitchen, Ivy strikes a pose made famous by Ethel, and to make the connection, the film cuts to the original photo. The filmmaker is sharing her intensely private moment with the audience.
Pieces of the puzzle are laid out by friends and colleagues, most notably 103-year-old Harry Steingart, who says that the Rosenbergs could have gotten off by naming names, including his own, but to their credit remained silent. Richard Nixon, J. Edgar Hoover and Joseph McCarthy are among the scoundrels who make appearances via newsreels and suggest the pernicious tenor of the times.
Meeropol, a writer by trade, is not always the most assured interviewer or graceful filmmaker. Some scenes go on too long and miss the mark, others have less impact than they should. But her openness and willingness to go anywhere, and to take along a public that has long been intrigued by this story, is the film's real strength. And when, at the end, Meeropol finally visits her grandparents' grave and places a stone on the headstone to mark the site, as is the Jewish tradition, there is not likely to be a dry eye in the house.
HEIR TO AN EXECUTION
Blowback Prods.
Credits:
Director: Ivy Meeropol
Producers: Marc Levin, Daphne Pinkerson, Ivy Meeropol, Sheila Nevins
Directors of photography: Matthew Akers, Ivy Meeropol
Music: Human
Editors: Ken Eluto, Eric Seuel Davies
Running time -- 98 minutes
No MPAA rating...
Sundance Film Festival
PARK CITY -- Few events in American history have the air of mystery, intrigue and tragedy that surrounds the execution of Julius and Ethel Rosenberg in 1953 for supplying atomic secrets to the Russians. In "Heir to an Execution", Ivy Meeropol, granddaughter of the Rosenbergs, grapples with the personal ramifications of these very public events in full view of anyone interested in watching. And who could turn away from a story so compelling and full of Shakespearean drama? The production should generate more than enough interest to power a healthy theatrical run.
Ethel and Julius Rosenberg become icons known as "the Atom Spies." Picasso painted them. But as Julius' old friend and co-defendant Morton Sobell says, "They were very ordinary people". It is Meeropol's search for the everyday aspect of the grandparents she never knew that propels the documentary.
We learn that Julius was a Brooklyn Dodgers fan, and Ethel doted on her two sons, Robert and Michael. Of course, like many intellectuals of the time, they were fervent communists, but what they did or did not do is not the question Meeropol is trying to answer. Another film will have to tackle that question. This is a family story.
Shortly after the execution, 10-year-old Robert, Ivy's father, and 6-year-old Michael were adopted by a good lefty couple, Anne and Abel Meeropol. None of the many siblings of Julius or Ethel would come forward to take in the kids. When Ivy tries to make contact with her long-lost cousins, only one would agree to be interviewed on camera, where he breaks down and apologizes for the family's neglect.
Robert serves as Ivy's conscience and sounding board and the source of much of the information. One of the curiosities of the film is that he is seemingly a happy and well-adjusted person. Together he and Ivy go to the apartment on New York's Lower East Side where the Rosenbergs lived before the FBI came to arrest Ethel and Julius in 1951. Robert is spooked to think that the agents rode in this very elevator to get his parents. Then, in the kitchen, Ivy strikes a pose made famous by Ethel, and to make the connection, the film cuts to the original photo. The filmmaker is sharing her intensely private moment with the audience.
Pieces of the puzzle are laid out by friends and colleagues, most notably 103-year-old Harry Steingart, who says that the Rosenbergs could have gotten off by naming names, including his own, but to their credit remained silent. Richard Nixon, J. Edgar Hoover and Joseph McCarthy are among the scoundrels who make appearances via newsreels and suggest the pernicious tenor of the times.
Meeropol, a writer by trade, is not always the most assured interviewer or graceful filmmaker. Some scenes go on too long and miss the mark, others have less impact than they should. But her openness and willingness to go anywhere, and to take along a public that has long been intrigued by this story, is the film's real strength. And when, at the end, Meeropol finally visits her grandparents' grave and places a stone on the headstone to mark the site, as is the Jewish tradition, there is not likely to be a dry eye in the house.
HEIR TO AN EXECUTION
Blowback Prods.
Credits:
Director: Ivy Meeropol
Producers: Marc Levin, Daphne Pinkerson, Ivy Meeropol, Sheila Nevins
Directors of photography: Matthew Akers, Ivy Meeropol
Music: Human
Editors: Ken Eluto, Eric Seuel Davies
Running time -- 98 minutes
No MPAA rating...
PARK CITY -- Few events in American history have the air of mystery, intrigue and tragedy that surrounds the execution of Julius and Ethel Rosenberg in 1953 for supplying atomic secrets to the Russians. In "Heir to an Execution", Ivy Meeropol, granddaughter of the Rosenbergs, grapples with the personal ramifications of these very public events in full view of anyone interested in watching. And who could turn away from a story so compelling and full of Shakespearean drama? The production should generate more than enough interest to power a healthy theatrical run.
Ethel and Julius Rosenberg become icons known as "the Atom Spies." Picasso painted them. But as Julius' old friend and co-defendant Morton Sobell says, "They were very ordinary people". It is Meeropol's search for the everyday aspect of the grandparents she never knew that propels the documentary.
We learn that Julius was a Brooklyn Dodgers fan, and Ethel doted on her two sons, Robert and Michael. Of course, like many intellectuals of the time, they were fervent communists, but what they did or did not do is not the question Meeropol is trying to answer. Another film will have to tackle that question. This is a family story.
Shortly after the execution, 10-year-old Robert, Ivy's father, and 6-year-old Michael were adopted by a good lefty couple, Anne and Abel Meeropol. None of the many siblings of Julius or Ethel would come forward to take in the kids. When Ivy tries to make contact with her long-lost cousins, only one would agree to be interviewed on camera, where he breaks down and apologizes for the family's neglect.
Robert serves as Ivy's conscience and sounding board and the source of much of the information. One of the curiosities of the film is that he is seemingly a happy and well-adjusted person. Together he and Ivy go to the apartment on New York's Lower East Side where the Rosenbergs lived before the FBI came to arrest Ethel and Julius in 1951. Robert is spooked to think that the agents rode in this very elevator to get his parents. Then, in the kitchen, Ivy strikes a pose made famous by Ethel, and to make the connection, the film cuts to the original photo. The filmmaker is sharing her intensely private moment with the audience.
Pieces of the puzzle are laid out by friends and colleagues, most notably 103-year-old Harry Steingart, who says that the Rosenbergs could have gotten off by naming names, including his own, but to their credit remained silent. Richard Nixon, J. Edgar Hoover and Joseph McCarthy are among the scoundrels who make appearances via newsreels and suggest the pernicious tenor of the times.
Meeropol, a writer by trade, is not always the most assured interviewer or graceful filmmaker. Some scenes go on too long and miss the mark, others have less impact than they should. But her openness and willingness to go anywhere, and to take along a public that has long been intrigued by this story, is the film's real strength. And when, at the end, Meeropol finally visits her grandparents' grave and places a stone on the headstone to mark the site, as is the Jewish tradition, there is not likely to be a dry eye in the house.
HEIR TO AN EXECUTION
Blowback Prods.
Credits:
Director: Ivy Meeropol
Producers: Marc Levin, Daphne Pinkerson, Ivy Meeropol, Sheila Nevins
Directors of photography: Matthew Akers, Ivy Meeropol
Music: Human
Editors: Ken Eluto, Eric Seuel Davies
Running time -- 98 minutes
No MPAA rating...
- 1/23/2004
- The Hollywood Reporter - Movie News
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