2017 ACE EDDIE nominations announced

With Links to interviews with the editors

Art of the Cut congratulates all of the nominees. Many of the nominees have done interviews with Art of the Cut. If you want to see what it took to land in this prestigious group of storytellers, check out the links in the list.

Also, J.J. Abrams will be celebrated as Filmmaker of the Year.

Abrams’ longtime editing collaborators, Maryann Brandon and Mary Jo Markey were interviewed by AOTC for Star Wars: The Force Awakens. There will be an upcoming interview with the editors of Westworld, on which he is a producer. Those editors also had a hand in Lost and Fringe, which he also produced. His Star Trek Beyond editors were interviewed here. His Mission: Impossible – Rogue Nation editor was interviewed here.

BEST EDITED FEATURE FILM (DRAMATIC)

Arrival, Joe Walker, ACE

Hacksaw Ridge, John Gilbert, ACE

Hell or High Water, Jake Roberts – (Roberts’ AOTC interview was for “Brooklyn”)

Manchester by the Sea, Jennifer Lame  (This interview is completed and is coming soon.)

Moonlight, Nat Sanders, Joi McMillon

BEST EDITED FEATURE FILM (COMEDY)

Deadpool. Julian Clarke, ACE (also another “Deadpool” interview with Vashi Nedomansky)

Hail, Caesar!, Roderick Jaynes  (A fictional editor representing the Coen Brothers)

The Jungle Book, Mark Livolsi, ACE

La La Land, Tom Cross, ACE

The Lobster, Yorgos Mavropsaridis

BEST EDITED ANIMATED FEATURE FILM

Kubo and the Two Strings, Christopher Murrie, ACE

Moana, Jeff Draheim, ACE

Zootopia, Fabienne Rawley & Jeremy Milton

 

BEST EDITED DOCUMENTARY (FEATURE)

13th, Spencer Averick

Amanda Knox, Matthew Hamachek

The Beatles: Eight Days a Week – The Touring Years, Paul Crowder

O.J.: Made in America, Bret Granato, Maya Mumma & Ben Sozanski

Weiner, Eli B. Despres

BEST EDITED DOCUMENTARY (TELEVISION)

The Choice 2016, Steve Audette, ACE (Interviewed about a different documentary)

Everything is Copy, Bob Eisenhart, ACE

We Will Rise: Michelle Obama’s Mission to Educate Girls Around the World, Oliver Lief

BEST EDITED HALF-HOUR SERIES

Silicon Valley: “The Uptick”, Brian Merken, ACE

Veep: “Morning After”, Steven Rasch, ACE

Veep: “Mother”, Shawn Paper

Jonathan Banks as Mike Ehrmantraut and Bob Odenkirk as Jimmy McGill – Better Call Saul _ Season 2, Gallery- Photo Credit: Ben Leuner/AMC

BEST EDITED ONE-HOUR SERIES – COMMERCIAL

Better Call Saul: “Fifi”, Skip Macdonald, ACE

Better Call Saul: “Klick”, Skip Macdonald, ACE & Curtis Thurber

Better Call Saul: “Nailed”, Kelley Dixon, ACE & Chris McCaleb

Mr. Robot: “eps2.4m4ster-s1ave.aes”, Philip Harrison

This is Us: “Pilot”, David L. Bertman, ACE

BEST EDITED ONE-HOUR SERIES – NON-COMMERCIAL

The Crown: “Assassins”, Yan Miles, ACE

Game of Thrones: “Battle of the Bastards”, Tim Porter, ACE

Stranger Things: “Chapter One: The Vanishing of Will Byers”, Dean Zimmerman

Stranger Things: “Chapter Seven: The Bathtub”, Kevin D. Ross

Westworld: “The Original”, Stephen Semel, ACE & Marc Jozefowicz      (Coming Soon)

BEST EDITED MINISERIES OR MOTION PICTURE (NON-THEATRICAL)

All the Way, Carol Littleton, ACE

The Night Of: “The Beach”, Jay Cassidy, ACE

The People V. O.J. Simpson: American Crime Story “Marcia, Marcia, Marcia”, Adam Penn, Stewart Schill, ACE & C. Chi-yoon Chung

BEST EDITED NON-SCRIPTED SERIES

Anthony Bourdain: Parts Unknown: “Manila”, Hunter Gross, ACE

Anthony Bourdain: Parts Unknown: Senegal, Mustafa Bhagat

Deadliest Catch: “Fire at Sea: Part 2”, Josh Earl, ACE & Alexander Rubinow, ACE

 

 


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Steve Hullfish

Steve Hullfish

Steve Hullfish has been producing and editing award-winning television since the mid-1980s. He has written five books, and edited two theatrical feature films (both Number One New Movies in the US). He has lectured at NAB, DVExpo and the Master Editor seminars. He has edited on Avid since 1992 and was named to Avid’s first group of Master Editors. His client list includes: Universal Studios, Sony Pictures, NBC, PBS, Turner Networks, The Oprah Winfrey Show, “Investigative Reports” and “Cold Cases” with Bill Kurtis for A&E, Jim Henson Home Entertainment, Major League Soccer, The Chicago Cubs, Wilson Sporting Goods and Exxon/Mobil.

  • scottsimmons

    There was a debate the other day as to which of all these nominees was cut on anything but Media Composer (’cause it’s the tool not the editor right?). It seems there are a couple/few that was cut on Premiere Pro. Actually someone asked if any of them were cut on FCPX and the conversation evolved/devolved from there!

  • Steve Hullfish

    I can confirm 14 of the 39 nominees edited on Avid and 2 edited on Premiere. I have pretty strong guesses about at least 3 of the others that were probably cut on Avid and would assume that nearly 37 of the 39 were Avid and none were FCP-X or FCP7 or Lightworks. I know that the platform or NLE doesn’t matter, but it cracks me up when I read posts that “FCP-X is the de facto standard” or “Premiere is the de facto standard” when Avid is the clear leader in scripted drama by an incredibly wide margin. Of the 75 interviews Art of the Cut has done, representing 1000s of films and TV shows, there are 3 FCP-X movies, 3 Premiere movies and the rest are Avid. That means Avid has something on the order of 99.9% of the market for widely released scripted theatrical and dramatic TV based on my anecdotal evidence (of 1000s of movies and TV shows). Of the nominees, for sure on Avid were: Arrival, Hacksaw Ridge, Manchester By the Sea, Jungle Book, La La Land, Beatles: Eight Days a Week, The Choice, all three Better Call Saul nominations, both Stranger Things nominations and Westworld. I also interviewed the editor of Hell and Highwater and his last film was on Avid, so I suspect this one was too, but don’t know. Hail Caesar and Deadpool were both Premiere.

    • Steve Hullfish

      If you dig down into the Sundance/indie film market, you’ll see the Premiere “market share” expand a bit, and a little FCP-X, but Avid’s still probably 75% of those with Premiere at 20% and FCP-X at 5%, but those numbers are just based on my loose recall of press releases and press hacks calling me to do interviews on indie films.