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ACE Awards: Editors Work on the Cutting Edge of Showbiz

In film and television, these artisans are the ultimate storytellers

It’s said that the best editing is the type that doesn’t call attention to itself. If audiences aren’t aware of the cutting and pacing that takes them through the story unfolding on the screen, the editor has done his or her job. Yet film editing, though it may be unsung, is where the story gets told. So as editors gather once again to celebrate their work at the American Cinema Editors’ Eddie Awards on Jan. 29 at the Beverly Hilton hotel, they can take pride in knowing that the vast puzzle of images they assemble into a coherent narrative is the ultimate entertainment art.

This year ACE will continue its tradition, initiated only last year, of honoring industry luminaries with Career Achievement Awards. The 2016 honorees are Nancy Meyers, Carol Littleton and Ted Rich.

CAREER ACHIEVEMENT AWARD: NANCY MEYERS (Pictured Left)

As a writer, director and producer, Meyers has created a body of work focusing on the female experience with her literate and sophisticated comedies that tap into the heart of modern relationships,. Her latest, “The Intern,” stars Robert De Niro and Anne Hathaway, along with a multi-generational cast, in a comedy about a different kind of bond between men and women — friendship.

Meyers made an auspicious debut as a director — following two decades of successful screenwriting and producing — with the popular update of the Disney classic “The Parent Trap.” She went on to do such films as “What Women Want,” “Something’s Gotta Give” and “It’s Complicated.” Under her watch, stars such as Jack Nicholson, Diane Keaton and Meryl Streep have garnered multiple award noms and wins. Her first film was 1980’s “Private Benjamin,” starring Goldie Hawn. It bucked conventional wisdom that a female lead could not open a movie without a male star.

CAREER ACHIEVEMENT AWARD: CAROL LITTLETON (Pictured Middle)

Littleton left her native Oklahoma to study in Paris, where she was first drawn to film editing after seeing Gillo Pontecorvo’s powerful docudrama “The Battle of Algiers.” Upon her return to the U.S., she settled in Southern California and began editing TV commercials. Her first screen credit as editor was on “Legacy,” an AFI production directed by Karen Arthur. Since then her films have included “Body Heat,” “E.T. The Extra-Terrestrial,” “The Big Chill,” “The Accidental Tourist,” “The Manchurian Candidate,” and “Darling Companion.” For her work on “E.T.,” Littleton received nominations from the Motion Picture Academy, BAFTA and American Cinema Editors. For her work on the telefilm “Tuesdays With Morrie,” she scored an Emmy. Lawrence Kasdan will present her with the ACE Award.

CAREER ACHIEVEMENT AWARD: TED RICH (Pictured Right)

Rich’s career began in 1951 when he gave up pursuing a business major at UCLA to earn a living as a film librarian at the old Hal Roach Studios. This led to work at Desilu, where he first assisted Bud Molin on “I Love Lucy” and then was placed in charge of integrating all the commercials into the Desilu shows. In 1960 he became a full editor on “Harrigan and Son.” Other series he edited include “Wild, Wild West,” “McMillan & Wife” and “Kolchak: The Night Stalker.” He joined editor Stanley Frazen in cutting “My Favorite Martian.” Editing “Get Smart” led him to become supervising editor. He began cutting at MTM and quickly realized the need for a post-production supervisor because of the increasing number of series. His business background was an asset when he took on that job and became responsible for the post on all MTM shows. Later, he moved to Lorimar and then Warner Bros. After handling post for Hal Harrison and Stu Segall, he retired from the cutting room.

NOMINEES FOR THE 66TH ACE EDDIE AWARDS:

BEST EDITED FEATURE FILM (DRAMATIC)
› Mad Max:
Fury Road
(Editor: Margaret Sixel)
› The Martian
(Editor: Pietro Scalia)
› The Revenant
(Editor: Stephen Mirrione)
› Sicario
(Editor: Joe Walker)
› Star Wars: The Force Awakens
(Editors: Maryann Brandon and
Mary Jo Markey)

BEST EDITED FEATURE FILM (COMEDY)
› Ant-Man
(Editors: Dan Lebental and Colby Parker Jr.)
› The Big Short
(Editor: Hank Corwin)
› Joy
(Editors: Jay Cassidy, Alan Baumgarten, Christopher Tellefsen and Tom Cross)
› Me and Earl and the Dying Girl
(Editor: David Trachtenberg)
› Trainwreck
(Editors: William Kerr and Paul Zucker)

BEST EDITED
ANIMATED
FEATURE FILM
› Anomalisa
(Editor: Garret Elkins)
› Inside Out
(Editor: Kevin Nolting)
› The Good Dinosaur
(Editor: Stephen Schaffer)

BEST EDITED DOCUMENTARY (FEATURE)
› Amy
(Editor: Chris King)
› Kurt Cobain:
Montage of Heck
(Editors: Joe Beshenkovsky and Brett Morgen)
› Going Clear:
Scientology and the Prison of Belief
(Editor: Andy Grieve)
› He Named
Me Malala
(Editor: Greg Finton, Brian Johnson and Brad Fuller)
› The Wrecking Crew
(Editor: Claire Scanlon)

BEST EDITED DOCUMENTARY (TELEVISION)
› Keith Richards: Under the Influence
(Editor: Joshua L. Pearson)
› The Jinx: The Life and Deaths of
Robert Durst, “A Body in the Bay”
(Editors: Zac Stuart-Pontier, Richard Hankin, Caitlyn Greene, Shelby Siegel)
› The Seventies:
“The United States vs. Nixon”
(Editor: Chris A. Peterson)

BEST EDITED
HALF-HOUR SERIES FOR TELEVISION
› Inside Amy Schumer:
“12 Angry Men”
(Editor: Nick Paley)
› Silicon Valley: “Two Days of the Condor”
(Editor: Brian Merken)
› Veep: “Election Night”
(Editor: Gary Dollner)

BEST EDITED
ONE-HOUR SERIES FOR COMMERCIAL TELEVISION
› Better Call Saul: “Five-O”
(Editor: Kelley Dixon)
› Better Call Saul: “Uno”
(Editor: Skip Macdonald)
› Fargo: “Did You
Do This? No,
You Did It!”
(Editors: Skip Macdonald and Curtis Thurber)
› The Good Wife: “Restraint”
(Editor: Scott Vickrey)
› Mad Men: “Person to Person”
(Editor: Tom Wilson)

BEST EDITED
ONE-HOUR SERIES FOR NON-COMMERCIAL TELEVISION
› Game of Thrones: “The Dance of
Dragons”
(Editor: Katie Weiland)
› Game of Thrones: “Hardhome”
(Editor: Tim Porter)
› Homeland: “The Tradition of
Hospitality”
(Editor: Harvey Rosenstock)
› House of Cards: “Chapter 39”
(Editor: Lisa Bromwell)
› The Knick: “Wonderful Surprises”
(Editor: Mary Ann Bernard)

BEST EDITED
LONGFORM
(MINISERIES OR MOTION PICTURE) FOR TELEVISION
› Bessie
(Editor: Brian A. Kates)
› Dolly Parton’s Coat of Many Colors
(Editor: Maysie Hoy)
› Orange Is the
New Black: “Trust No Bitch” (90-
minute episode)
(Editor: William Turro)

BEST EDITED NON-SCRIPTED SERIES
› Anthony Bourdain: Parts Unknown: “Bay Area”
(Editor: Hunter Gross)
› Deadliest Catch: “Zero Hour”
(Editors: Josh Earl and Ben Bulatao)
› Whale Wars:
“The Darkest Hour”
(Editors: Eric Driscoll, Nik Jamgocyan,
Chris Kirkpatrick, David Michael Maurer, Greg MacDonald,
Marcus Miller and Alexandria Scott)

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