‘Mad Max,’ ‘Big Short,’ ‘Inside Amy Schumer’ Score Wins from American Cinema Editors

The Big Short
Courtesy of Paramount

‘Amy’ wins documentary feature prize; ‘Jinx’ and ‘Inside Out’ also get kudos

Continuing their awards momentum, “Mad Max: Fury Road,” “The Big Short” (pictured) and “Inside Out” took top prizes at the American Cinema Editors’ Eddie Awards on Friday night at the Beverly Hilton hotel.

Amy Winehouse bio docu “Amy” scored the Eddie for best documentary feature, and in the best edited TV docu category, the winner was HBO’s “The Jinx.”

In copping its win as best edited dramatic feature, “Mad Max” and editor Margaret Sixel beat out “The Martian,” “The Revenant,” “Sicario” and “Star Wars: The Force Awakens.”

In the best edited comedy feature category, “The Big Short’s” Hank Corwin overcame challenges from “Ant-Man,” “Joy,” “Me and Earl and the Dying Girl” and “Trainwreck.” And and in the animated feature category, “Inside Out” cutter Kevin Nolting pulled ahead of “Anomalisa” and “The Good Dinosaur.”

In TV, the “12 Angry Men” episode of “Inside Amy Schumer” won for best edited half hour series, and the “Person to Person” episode of “Mad Med” got the trophy for best edited one-hour series for commercial television.

The “Chapter 39” episode of Netflix’s “House of Cards” got the prize for best edited one-hour series for non-commercial television, and HBO’s “Bessie” won for best longform (miniseries or motion picture) for TV. The “Bay Area” episode of CNN’s “Anthony Bourdain: Parts Unknown” scored as best edited nonscripted series.

Chris Dold of the University of North Carolina School of the Arts won for best student editing.

Of the five Oscar nominees for film editing, four were also nominated for an ACE Eddie: “Mad Max: Fury Road” (Eddie winner), “The Revenant,” “Star Wars: The Force Awakens” and “The Big Short” (Eddie winner).

The fifth Oscar nominee is “Spotlight” and editor Tom McArdle.

In the animated film category, it’s worth noting that the film that has won for best animated feature ever since ACE introduced this Eddies category in 2010 has gone on to win the Oscar for best animated feature.

The awards were distributed at the Beverly Hilton hotel on Friday evening. The presenters included Steve Martin, Jennifer Jason Leigh, Mindy Kaling, Vince Gilligan, Pete Docter, J.J. Abrams and Adam McKay.

ACE also gave career achievement awards to writer/director/producer Nancy Meyers, and editors Carol Littleton and Ted Rich.

Here are the winners in list form:

Best Edited Feature Film (Dramatic)
“Mad Max: Fury Road” (Margaret Sixel)

Best Edited Feature Film (Comedy or Musical)
“The Big Short” (Hank Corwin)

Best Edited Animated Feature Film
“Inside Out” (Kevin Nolting)

Best Edited Documentary (Feature)
“Amy” (Chris King)

Best Edited Documentary (Television)
“The Jinx: The Life and Deaths of Robert Durst” – “A Body in the Bay” (Zac Stuart-Pontier, Richard Hankin, Caitlyn Greene, Shelby Siegel)

Best Edited Half-Hour Series for Television
“Inside Amy Schumer” – “12 Angry Men” (Nick Paley)

Best Edited One-Hour Series for Commercial Television
“Mad Men” – “Person to Person” (Tom Wilson)

Best Edited One-Hour Series for Non-Commercial Television
“House of Cards” – “Chapter 39” (Lisa Bromwell)

Best Edited Longform (Miniseries or Motion Picture) for Television
“Bessie” (Brian A. Kates)

Best Edited Non-Scripted Series
“Anthony Bourdain: Parts Unknown” – “Bay Area” (Hunter Gross)

Best Student Editing
Chris Dold – University of North Carolina School of the Arts

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  1. Augustus J. says:

    BIG SHORT- UNAPOLOGETICALLY plowing its way to the OSCAR AWARD(S). LOL!!!!!!!!!!!!!!!!!!!

  2. Jules says:

    That’s great! Will there ever be a sequel exposing the facts that Chris Dodd & Barney Franks wrote the Bill that eventually devastated the Housing market? I don’t it. Liberals don’t want the facts to interefere with their agenda.

  3. AYU_Dyah says:

    I always weigh in Margaret Sixel Sixel for Oscar. A woman editor and action film whose theme about feminism and enviroment. These are hot issues when The Academy and Hollywood got its “diversity” issue.

    But I wonder why Variety put a still photo of The Big Short below the headline. It’s like legitimizing this overrated film as the stronger candidate for editing than Mad Max Fury Road.

    Well, in a Oscar campaign season, I assume The Big Short producers pay some publications for campaigning, including Variety.

    But still, The Big Short is overrated, a copy and imitatator of Martin Scorsese’s Wolf of Wall Street.

    In terms of editing, Spotlight is way more superior than big short.

    • I would argue putting a Mad Max photo would be more obvious than highlighting the film that seems to be sweeping through the field on its way to an Oscar right now, but then I don’t sit around and obsess on perceived slights based on photo choices. (Note: The Mad Max camp paid campaign dollars to publications all year, too, but I’m clearly giving this weird thought process too much consideration.)

      I agree on Spotlight’s editing. Seamless and perfect.

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