The Artist, Descendants Win Eddie, Hugo wins CAS, Descendants Wins Scripter
The Descendants wins the Scripter!
CAS Awards thanks to @soundworksvideo
Outstanding Sound in a Motion Picture: Hugo
Outstanding Achievement in Sound Mixing for Television Movies and Mini-Series: TOO BIG TO FAIL
Outstanding Achievement in Sound Mixing for TV Movies & Mini-Series.. – Into the Wild
Technical Achievement Award for Post Production: AVID Pro Tools 10
Sound mixing for non-fiction variety show: DEADLIEST CATCH: NEW BLOOD!
Technical Achievement Award for Production: ZAXCOM: Nomad Production Sound System
Ace Eddies thanks to @Variety_DSCohen and @akstanwyk
Drama – The Descendants
Editing musical/Comedy – The Artist
Animated Feature: Rango
One Hour series for non-commercial TV: Homeland
1-hour series for commercial TV: “Breaking Bad” – “Face Off” Skip Macdonald
Half-hour TV series: “Curb Your Enthusiasm” – Palestininan Chicken” – Steven Rasch
Best Edited Documentary: Lewis Erskine & Aljernon Tunsil, Freedom Riders
Reality Series: No Reservations
Mini Series: “Cinema Verite” Sarah Flack & Robert Pulcini
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1-hour series for commercial TV: “Breaking Bad” – “Face Off” Skip Macdonald
Yaaaaaaaay!
Well at least they got the Musical/Comedy category right.
Michael Kahn losing any of his noms is a joke though.
The Descendants?!
……….
Thelma Schoonmaker should have won, no contest.
The Descendants is a horrible win.
We need the Eddie/Oscar comparison chart. Why is Descendants doing as well as it is with the precursors? Can Hugo still win the Oscar? Artist seems probable, but it would still be a weak win.
The Descendants…are you kidding? And it won over Hugo AND The Girl with the Dragon Tattoo?
Well, at least the CAS did good.
Yeah, It is about time that The Descendant winning something major. I don’t mean to gloat, but the best editing is not all about flashy or fast paced editing. It is about conveying different images to make a point. Hell yeah, I am glad The Descendants winning over Hugo and other films. It deserves it.
Want to blame someone? Blame the ACE editors like they don’t know what editing is..
DaveyLow. The Descendant is a deserving win.
You need to know there is a reason why the editors picked The Descendant as the best editing of the year.
“The Descendants…are you kidding? And it won over Hugo AND The Girl with the Dragon Tattoo?”
Hell yeah, the editors are not kidding. YAYYYYYYYYYYYYYYYYYYYYYY
Okay, let’s be real for a second. Every single ACE Drama nominee was more deserving of that that “The Descendants.”
RobertLowerClassA-I find you’re posts incredibly condescending. I know what good editing is. I don’t think editing means flashy editing. There was nothing remarkable about The Descendants’ editing.
DaveLow, so your remark about The Descendant being a horrible win is not condescending? I know what good editing is as well, and I agree with all the editors who voted for The Descendants this year. There was nothing remarkable about The Descendants? Define “remarkable”, please. Is The Descendant simply too small of a film to be nodded for best editing? Or you just don’t have enough suspension of disbelief to realize there is a reason why the editors embraced The Descendants this year.
Tom C, why? Why other nominees are more deserving than The Descendant? Subject matter? The size of a film? Or The Descendant is simply too small of a film to pull off any kind of major win?? I sense a lot of prejudice, ignorance and lack of knowledge, sorry.
“Okay, let’s be real for a second.”
Let’s be real?? Why? The reality is ACE editors have already embraced The Descendants. That’s the reality. The editors were being real, I was being real.
The Descendants deserved the best editing win.
Do the A.C.E. Eddies match up with the Oscars? Usually, but not always. It is again another America-first organization, not unlike the SAGS, so for them to give this to a foreign editor for “Artist” is BIG.. Not like it wasn’t unexpected…Watched “Hugo” all the way through again tonight. In 2D it is even less than in 3D. The 3D helped it. STILL hate that kid, who ruins the film for me. But it will win both sound awards,& the production design of Dante Ferretti. These A.C.E. editors live up to their name and Thelma is their reigning Editing Goddess, so for her to lose here is BIG. Chalk up another win for “The Artist”.
The Descendants is actually supposed to be 7 hours and 36 minutes long, so Kevin Tent cutting it down to 2 hours and still managing to come up with a neat finished product is a humongous feat!
A most surprising win for The Descendants. I was quite sure Hugo had this and the Oscar sewn up. But if it can lose to The Descendants.. well, then I guess The Artist becomes favorite to win.
Shocked at The Descendants win – might push the Oscar to The Artist now.
this means The Artist is also walking away with the Best Editing oscar next week.
it will be a near-sweep…. sigh.
T.
Actually the Eddies mean a lot and it means a nearly locked up win for The Artist.
If you look back in the last TEN years:
DGA – missed the directing Oscar in 2002 (with Polanski).
PGA – missed a lot of times, in 2001, 2004, 2005, 2006.
WGA – missed both categories in 2002, adapted in 2003, adapted in 2009 and last year the original wasn’t eligible.
ASC – missed in 2001, 2003, 2004, 2006 (not even nominated), 2009.
CINEMA EDITORS GUILD – NOT A SINGLE MISS! One of their two choices has always went on to win the Oscar for editing in the last TEN years. So they’re pretty much a solid indicator of where the Oscar is headed.
Of course THE DESCENDANTS is a terrible win. Yes, good editing isn’t about flashy etc., but THE DESCENDANTS has an okay editing job to me. Even if you ignore the obvious (flashy) choices of HUGO and THE GIRL WITH THE DRAGON TATTOO, you have the great work done in MONEYBALL that to me deserves to win this award. But now it’s probably clear – THE ARTIST will take it.
Because Eddies Awards they hornor Alexander Payne Filmmaker of the year awards.
The win by the Descendants proves, finally, that there is no coalesence around any other film this year and clears the way for The Artist- as if it needed a wider path. The upcoming win a week from today is more certain that last year when there was some passion for other nominees, and I expect The Artist’s haul to be almost double that of TKS.
The saddest part for me will be Moneyball going home empty handed on Oscar Night.
@ Plum,
I still don’t think that MONEYBALL will go home empty-handed on Oscar night. The film has some momentum in the adapted screenplay category and the WGA could still boost its chances. Brad Pitt isn’t a likely winner in actor, but far from a no-shot-nominee. Anyway, I’ve been thinking about how the Eddies came too late this year, but isn’t that always the case?! They presented them last night, with only one more of voting ahead. I believe that by now around 90+ % of the Academy voted, so the Eddies won’t make the difference. Which – AGAIN! – favors The Artist more than anything else.
It’s time to just write this awards season off as a loss, this Oscar show next Sunday as a total loss and move on
Confluence doesn’t necessarily indicate influence. Sometimes awards align simply because the voting populations have similar tastes. I doubt that ACE has influenced a single vote in the last 10 years, the members of the guild just have similar tastes to the Academy. Picking two winners also greatly increases their odds of matching Oscar.
I don’t see why everyone assumes this puts it in the bag for The Artist — there’s a unmistakable surge at the wire for The Descendants. It’s still outperforming The Artist at the box office and seems to be the only film Academy actors are tweeting about. Clooney will win and Adapted Screenplay is very likely. If The Artist has only a few awards when they announce Best Picture, there could be an upset.
@PaulH
So you’d say this season is a total loss? A total loss?
———————
Anyone know the crossover of Scripter voters and Academy voters? I’m guessing minute, if there’s any at all. I think “Moneyball” still has a great shot of picking up Adapted Screenplay. It doesn’t help, though, that Sorkin won last year, but Payne’s also a previous winner — nfor what many would call a superior film — so it’s really down to where the support is: “Moneyball” got 6 nominations, “The Descendants” got 5. “Moneyball” showed up in 2 tech categories, “The Descendants” only once. Yes, the difference between one nomination is not worth harping on, but “Moneyball” getting a Sound nom has always been quite telling for me.
@Dan Conley
I, too, am thinking there might be an upset. I count my eggs anytime soon, though.
If it comes down to the wire, however, similar to last year — come on, when there were 4 Oscars left to hand out and up to that point “The Social Network” had tallied 3 to “The King’s Speech” singlet we were all thinking it — I think, much to my dissapointment, “The Artist” will prevail. But to be honest, as long as “The Artist” doesn’t win for its screenplay — which was so unoriginal and incredibly predicatble — I couldn’t care less. I don’t get anything no matter what film wins.
Even if The Descendants does win the WGA for Adapted Screenplay, Moneyball would still remain a strong competitor. It could be Up in the Air vs Precious all over again, with Up in the Air winning pretty much every award for Adapted Screenplay, but then it loses at the Oscars. It would be even less surprising to see Moneyball walking away with the award, since the screenplay did win award so far. Up in the Air was the biggest loser of the night, with 6 noms and no wins. Now, Moneyball has 6 noms and The Descendants 5. The adapted screenplay will decide which one will go home empty handed – frankly, I don’t see The Descendants winning more than one Oscar. I know I’m in minority here, but apart from thinking that it lost its steam, I really disliked the movie. I found it too “in your face” drama, with that pseudo-dead wife being shown every couple of minutes. Seriously, she was dying, I was getting it. No need to show that face over and over and over again. My main problem was that they divert the focus from Matt’s own mistakes to pointing out the woman’s mistakes. We never get to hear her version of the story, so we are led to believe that she was entirely guilty for being a cheater. Not that I excuse her, but Matt starts off as considering himself the back up parent, ending up blaming his wife for everything. The youngsters saved the movie for me. I thought George was way better in the underrated “The American”, than here, which is a standard job. Not bad, mind you, but it’s not that kind of role where you couldn’t see someone else doing it.
I don’t know how the fact that Aaron Sorkin won last year will affect Moneyball’s chances – after all, Tom Hanks won 2 Oscars in two consecutive years also, so I’m curious to see which one won’t score any wins.
*awards, sorry for the typo.
I guess we can add editing to The Artist also. Now the only 2 categories left where I am not sure about The Artist’s chances are costumes and original screenplay. The costumes category is tricky; while The Artist had some great costumes, it hurts its chances that they didn’t have to think too much of choosing the right colors, as opposed to Hugo, where it’s all about colors. I am wondering if Anonymous will be hurt by not having a CDG nom, those are the kinds of costumes that the Academy likes to award, but they might be considered too flashy. The CDG winners don’t always match with the Oscars, but I wonder if Anonymous could pull up a surprise win or if it will be a major sweep for The Artist.
And the original screenplay will be tough to predict, since The Artist was ineligible for the WGA. When Inception won the WGA last year, I was hoping that it might beat the ineligible The King’s Speech. Of course it didn’t. Inception had the better script and while I did like The King’s Speech very much, its script was no way near the complexity that Inception’s script had. I don’t know why I have the feeling that they will avoid to award again the most creative screenplay (Midnight in Paris) in favor of the screenplay for the movie they liked the most. The Artist’s achievement is that it manages to tell a simple story with charm, but pretty much without dialogue. And regarding Midnight in Paris, the voters might become tired of the fact that Woody is always a no-go at the shows, refusing to attend luncheons and such. Yeah, it’s a stupid argument to discredit someone because he isn’t playing nice with the Academy, but I see it happening.
Also (sorry for the multiple posts – I am still sleepy and I keep remember things I forgot to mention), in the end, both The Descendants and Moneyball could go home empty-handed. I wouldn’t be surprised to see that they give the screenplay to Hugo, which has its heart in the right place. John Logan never won, despite being constantly good and Hugo is a movie that everybody loves. If it’ll win only art direction and sound mixing, people will scratch their heads wondering how can you love the movie so much and give it only 2 awards, so maybe they will feel the need to give it something more consistent.
Despite the WGA results which might be in The Descendants’ favor, Hugo has the same chances, maybe even bigger now that I think of it. Regardless of what will happen at the WGA, Adapted screenplay, just like Original Screenplay is still an open race.
Hope better sense prevails and Descendants wins best picture at Oscars..Just cant believe Artist (good movie but outdated) won so many awards. I would like any movie except Artist, Extremely low, War horse winning best pic
The problem with this technical awards (including in the Oscar noms) is that quite often they “forget” to vote in what was actually the best work in the category and just vote in the film they liked more that year. Remember THL being nominated for Best Original Score? Slumdog Millionaire winning every technical award there was? And so on.
I just can’t see the Academy giving Hazanavicius three Oscars on one night. He will lose one of these awards (most likely editing)
“Even if The Descendants does win the WGA for Adapted Screenplay, Moneyball would still remain a strong competitor. It could be Up in the Air vs Precious all over again, with Up in the Air winning pretty much every award for Adapted Screenplay, but then it loses at the Oscars.”
Very very unlikely, and it is more of a wishful thinking. I can pull out Saving Private Ryan’s Oscar history and say the exact same thing. It is very unrealistic to pull out Up In The Air vs Precious and to conclude that The Descendant will end up becoming like Up In The Air. Every year is different, sure, upsets do happen, but Money Ball has not won anything major, and it didn’t win ACE either. Up In The Air didn’t win the Eddie either. The Descendants did. Plus, Sorkin has already won last year, that will definitely be in favor of Payne. “Don’t rule out Money Ball” yet, then why do you rule out Brat Pitt. I could say the same thing about Rooney. The Descendants is more than likely going to walk away with the best adapted screenplay, if there was a surprise, it could be Hugo. I don’t think it would be Moneyball. The Descendants is way more American than MoneyBall.
The Original screenplay is an open race? I am not sure. I still think Woody Allen is going to take it home.
Eric, I think Havanavicious will walk away with Best Director only.
The editing will go to something else. Hopefully The Descendant.
The Artist will take Original Screenplay. Remember when The Hurt Locker won over Inglorious Basterds? Basterds was a BP nominee, SAG ensemble winner, Wienstein-backed, got all major screenplay percursors, and still lost to the best picture frontrunner.
Every year is different. Why will The Artist take the original screenplay? BAFTA?? You can’t really pull a case from the past and draw your conclusion.
The Hurt Locker also won the WGA for best original screenplay.
So can I use Private Ryan’s case and say well, Hugo will pull an upset? I could, but we just know it is very unlikely.
Woody Allen still has a chance to win. He probably will win The WGA tonight.
Hugo didn’t win for editing because it’s not a well edited film! The first hour is a total drag. The decision was made to linger on the elaborate sets and chldren’s face, for such a length of time that real momentum was lost. It’s the principle reason I’m not a big fan of the movie.
While I personally feel Moneyball is a more carefully and cleverly edited film than The Descendants, I don’t see how anybody can think it a bad win. The sequence between him and his daughter where the infidelity of the mom is revealed, George bolts the house, runs down the hill and confronts their friends — it’s done at such a steady yet breakneck pace, specifically with the mystery of ‘what the heck is he doing?’ I thought that one of several brilliant moments where editing took charge of the picture
The Girl With tHe Dragon Tattoo is strong, but people may be transposing their enthusiasm with the editing of the trailer with the editing in the film.
Again, how can ANYBODY can defend the editing of Hugo is beyond me. It’s the weakest technical element of the film.
I didn’t find the first hour of Hugo a drag at all. In fact the first 10 minutes or so before the the title of the movie is announced are brilliant.
I mentioned Precious, because that win at the Oscars for Adapted Screenplay came out of nowhere, hardly anyone was expecting it, since it had no previous wins. Up in the Air was the winner that most people were betting on in that category, so it was a huge upset when they opened the envelope to reveal the winner. And Sorkin did win a few awards so far for his Moneyball script.
As for Original Screenplay, I don’t know, but after seeing how screenplays like Inglourious Basterds and Inception lost in favor of weaker ones, I wouldn’t be surprised at all to see The Artist winning, although it’s a category where it shouldn’t. Yes, I loved the movie, but seriously, it shouldn’t. But just because it shouldn’t, it doesn’t mean it won’t. Being ineligible at the WGA makes it harder to predict the category. They do love Woody and Midnight in Paris would be a better winner (I’m rooting for the powerful A Separation), but at the same time, they like them to play the game and kiss their asses, something which Woody doesn’t do. What if they will simply think: Ah, why vote for him anyway if he doesn’t appreciate it? He probably won’t even be there to pick up his award. AGAIN, not saying that this is a right way to judge, but I totally see them thinking like that.
Seems like they don’t longer vote the most complex scripts, but rather the best movie overall. I am wondering if they will indeed show so much love for The Artist and give Hazanavicious 3 Oscars on the same night, but hey, anything is possible. And yeah, I tried to understand what was about that nomination for Original Score for THL. I didn’t even remember hearing any music during the movie lol. Original Score is not about the best compositions, but about the music which fits the movie and its atmosphere and tone the best. Well, at least this is how I think it should be.
John Logan is a fine writer, his Sweeney Todd script, for example, was marvelous, so it would be a nice way to reward him for his work, especially now with a movie so beloved by everyone (Hugo). But…maybe Lincoln next year.
One way to give an important award to every movie would be: Editing – The Descendants, Adapted Screenplay – Moneyball or Hugo and Original Screenplay: Midnight in Paris. So you would have 3 acclaimed movies winning 3 important prizes.
Sorry, meant Hazanavicius. While the WGA might give us a clearer idea of the outcome of the Adapted Screenplay race, it won’t help the Original Screenplay category at all. I just don’t see Hugo winning only sound and art direction, as well as I don’t see Moneyball or The Descendants walking home empty-handed.
The Artist is pretty much a lock for Pic, Director, Actor, Score and MAYBE costumes. Therefore, it will be the big winner of the night, with more wins than The King’s Speech. Then Hugo will win 2 and The Descendants, Midnight in Paris, Warhorse (Sound Editing) and Moneyball 1 each to keep everybody happy.
Hugo – Art Direction, Sound Mixing (and maybe Adapted Screenplay, since they really seem to love the movie and I am not sure if they will give it only 2 Oscars)
The Descendants – Editing?
Midnight in Paris – Original Screenplay?
Warhorse – Sound Editing?
Moneyball – Adapted Screenplay?
Well, everybody happy technically, since I will never understand the lack of love for Shame, Melancholia, We Need to Talk About Kevin or Drive (only sound editing nom??), just to mention a few overlooked movies.
“I mentioned Precious, because that win at the Oscars for Adapted Screenplay came out of nowhere, hardly anyone was expecting it, since it had no previous wins. Up in the Air was the winner that most people were betting on in that category, so it was a huge upset when they opened the envelope to reveal the winner. And Sorkin did win a few awards so far for his Moneyball script.”
And again, you simply just can’t use the case of Precious to conclude that possibility of Money Ball winning, sure, it is possible, but not likely. Just like I would not say The Artist might be like Saving Private Ryan that won DGA, PGA, Golden Globe, Eddie, and lost the best picture, so it is possible that Hugo might upset. It is more of wishful thinking to put yourself in that situation of highly unlikeliness…
MoneyBall is no Precious. It is not as emotional as Precious and controversy.
Why wouldn’t a Moneyball win be likely, apart from the fact that Aaron Sorkin won last year also? My point was that no matter what the WGA will award, the race will still be open until the winner is announced. This category is more unpredictable than any other one and Precious is just the most recent example where the guild winner and the Oscar winner for Adapted Screenplay was not the same. Regarding PGA and DGA, the history told us that their winners match very often the Oscar winners, but because of the many scripts which are every year ineligible for WGA, you shouldn’t base your Oscar predictions on those results. That’s all. Original is pretty much a two horse race between The Artist and Midnight in Paris (Unfortunately A Separation won’t win, right?) and Adapted Screenplay is a triple threat between The Descendants, Hugo and Moneyball, although I wish Tinker Tailor Soldier Spy would pull up a surprise win.
micheal kahn or thelma schoonmaker. the descendants does not get my vote for editing. however, the artist does. very modest paced film and some great cut to’s. war horse or tgwtdt could sttill win sound categories
i mentioned micheal kahn and thelma schoonmaker because their powerhoouse editors. they’ve worked on editing films for a long time bu that doesn’t mean the are the frontrunners. i still think christopher telleferson for moneyball could win here