Best Edited Feature Drama
Captain Philips, Christopher Rouse
Best Edited Feature Comedy/Musical
American Hustle Jay Cassidy, A.C.E., Crispin Struthers & Alan Baumgarten
Best Edited Animated Feature
Frozen, Jeff Draheim
Best Edited Documentary
20 Feet from Stardom, Douglas Blush, Kevin Klauber & Jason Zeldes
Golden Eddie Award
Paul Greengrass
Best Edited Miniseries or Motion Picture for TV
Behind the Candelabra, Mary Ann Bernard
Best Edited One-hour Series for Commercial TV
Breaking Bad, “Felina”, Skip MacDonald
Best Edited One-hour Series for Non-Commercial TV
Homeland, “Big Man in Tehran”, Terry Kelley
Best Edited Half-hour Series for TV
The Office, “Finale”, David Rogers & Claire Scanlon
Best Edited TV Documentary
Assassination of President Kennedy, Chris A Peterson
Career Achievement Award
Richard Halsey
Career Achievement Award
Robert C. Jones
Heritage Award
Randy Roberts
1913 film editing room staffed by female “patchers” or “cutters.” From The Evidence of the Film. (via @NitrateDiva)
Gravity will very likely this year’s Life of Pi. I think CP is taking Sound Editing and Editing.
This is not a surprise win. Phillips has the best editing of the year.
It is clear that Gravity will not win all the techies. This is a competitive year. I expect it to win a maximum five awards (if it goes on to win BP).
@obamawins lol I’m just giving u shit. 12 years will probably win, but yes, Im more of a gravity fan. Do I think it’s the best picture of the year? No. But I’m more likely to watch it more than 12 years, another excellent film. Can’t wait to see how all this turns out march 2!
You got it. I’ll quit yelling 🙂
yell at other people. I’m fine with that. Just don’t yell at me. I’m very much on your side when it comes to admiring the prolonged uninterrupted sensation of immersive dread Gravity achieves.
Why only the elites at AD can use code now? 🙁
Ryan,
I realize I should have addressed you on a separate comment. I tend to respond to the whole thread in one single message.
You also had the most sensible opinion in this discussion:
“It takes nothing away from Gravity’s achievement to concede it’s a one-woman show with hardly any editing. That’s sort of the whole point of the stunt it pulled off.”
I still disagree there’re “hardly any editing”, but I know exactly what you’re point is and I agree.
you’re right Bryce, it’s wrong for me to say there’s “hardly any editing” in Gravity. You know me well enough to see how I like to take movies apart and examine the disassembled pieces that make them tick. So I’m aware of the sequences in Gravity that have more traditional editing rhythms. I didn’t doze off during those parts.
What I should’ve said, more precisely, “It takes nothing away from Gravity’s achievement to concede it’s a one-woman show that derives its most talked-about visual and temporal distinction from the relative paucity of conventional editing, creating a sense of real-time urgency in many extended and lengthy single-take set-pieces that manage to be both languid and incredibly taut at the same time.
But I sound like a right wanker when I express myself in those terms so I rarely do it because it’s not hot to come across like such a geek. I’d rather sound more down to earth (no offense! I mean, earth, phfft, who cares about being down on earth! sorry! don’t yell at me.)
🙂
You mistake me for someone who gives as shit about GRAVITY winning Best Picture. Please refrain from addressing me in such hysterical fashion. Wait, just don’t, at all.
“the GRAVITY bashing ensues with insults for Cuaron included.”
So pointing out its set back and weakness for winning Best Picture is an insult for Cuaron?
Are you an ESL student?
Bryce, are you like “Ah, ah ,ah, ahhhhh, ah, what do I do? I can’t breath, ah ah ah, Gravity lost ACE, ah ah , I can’t believe it, ah, ah, I can’t breath”
@Bryce
It seems like you are the one who is angry. It lost ACE last night. It has been a rough night for you or something?
Wow I go away for 24 hours and the GRAVITY bashing ensues with insults for Cuaron included. Why are you guys so angry? Doesn’t this result make you happy? Now this is evidence that GRAVITY also has atrocious editing, add that to the abysmal ESL writing and y’all have your narrative going.
“You are correct when you say that Gravity’s scarcity of edits is an ‘editing decision.’ Yes. But it’s not the Editor’s decision. The decision is taken out of the Editor’s hands.”
There’s a lot of editing going in GRAVITY, the more frenetic sequences are all editing, and I’m pretty sure Cuaron (editor) and Sanger made a lot of editing decisions together, whether you think they’re worthless is another matter.
calm down just a little, Bryce, can you please?
There’s only one person on this page using word like “worthless” and “atrocious” to describe Gravity’s editing and that person is you.
You surely can differentiate and parse what I’m saying. Because what I mean is actually contained in the sentence I wrote with words that have definitions I respect instead of hysterical exaggeration.
Let’s read what I said, let’s read it together as friends, ok?
The SCARCITY of the editing is not a choice the Editor made. It’s silly to think otherwise. Director Cuaron and Lubeski design an incredibly intricate long take that last 8 minutes. Is Editor Cuaron going to come along 6 months later and chop that 8-minute shot into traditional action movie style with 120 cuts?
Director Cuaron would murder Editor Cuaron in cold blood before he let that happen, and no jury would convict him. But still, what a mess that murder trial would be, right in the middle of Oscar Season.
I’m talking specifically about the decision to use so many long takes. You can tell that’s what I’m talking about because I say so quite clearly.
So how about not accuse me of saying the editing in Gravity is worthless. Flip out on somebody else and don’t drag my reasonable common-sense quote into it, alright?
“yikes, Claudiu . Let’s not go down this road. I’m pretty sure Cinematographers would be mad if we tried to say Best Cinematography is not an award for the person who did the Cinematography.
I don’t want to be the guy who has to tell all the Oscar-winning actors their Oscars are merely for the movie featuring their performance, not really for the talent they have as a person.
I’ll tell a few of them, but you have to be the one who tells Kate Winslet.”
:)) Yeah, I know, it’s an unsolvable problem, I guess. 🙂 That’s why I said you’re probably right about Gravity not being a true editing contender…
*isn’t a technical award etc.
“You are correct when you say that Gravity’s scarcity of edits is an ‘editing decision.’ Yes. But it’s not the Editor’s decision. The decision is taken out of the Editor’s hands.
There’s no music in No Country for Old Men. That’s a ‘music decision.’ But it’s not a Composer’s decision. See what I mean?”
No, I get it, of course. I figured that was the point. But what I was saying was that these awards are, at least in name, for the ‘editing’, not for the ‘editor’. Of course, they have to hand out an actual award, so they give it to the editor, which is why you’re probably right, in the end, and Gravity doesn’t really deserve such an award. But I feel like if the editing is decided upon by both the director and the editor, then both should get credit for it and receive the award, and the whole editing process should be considered for it (in which case I think Gravity deserves to at least be considered) – or they could just change the name of the award to ‘Best Editor’, instead of ‘Best Editing’.
And I definitely agree that Editing isn’t technical award. To me, honestly, this should be one of the top 5 most important awards (along with BP, BD and the screenplay awards – yes, these also happen to be the ones with the best predicting record, not surprisingly), that’s how important I think it is to the overall result. But people were saying this, which is what I reacted to.
– or they could just change the name of the award to ‘Best Editor’, instead of ‘Best Editing’.
yikes, Claudiu . Let’s not go down this road. I’m pretty sure Cinematographers would be mad if we tried to say Best Cinematography not an award for the person who did the Cinematography.
I don’t want to be the guy who has to tell all the Oscar-winning actors their Oscars are merely for the movie featuring their performance, not really for the talent they have as a person.
I’ll tell a few of them, but you have to be the one who tells Kate Winslet.
Gravity’s loss here proves that voters are not drunk on Gravity Kool-Aid. It’s not really a setback but more of a reality check that voters can be sober when assessing this BP frontrunner.
And for this revelation, Gravity fans have reasons to be nervous.
——————————-
RIGHT ON
Again, many pundits and Oscar watches have placed too much emphasis on Cuaron’s DGA win. Saving Private Ryan got PGA, DGA, ACE, and was nominated for a WGA and screenplay nod at the Oscars, and it still could not win best picture. Ok, the team Gravity will argue Shakespeare in Love was the most nominated film to justify Gravity’s major loss at ACE, but the fact is Gravity is no Shakespeare in Love, it doesn’t have a writing nomination, it wasn’t embraced by WGA, it doesn’t have multi acting nominations like SIL, it is sci fi, and an one woman show, and Gravity fans seems to have forgotten it tied with 12 Years at PGA, and yes, it won DGA, but its DGA win in this case only put Cuaron in the bag of best directing Oscar. With all these evident phenomena, the split between 12 Years and Gravity for directing is more and more likely.
Ryan – You talk as if Gravity is only 8 minutes long. It’s not an anti-editor movie. Gimme a break. It got nominated both at ACE and the Oscars editing branch. The movie is not full of 8 minute long takes.
When it got inside the spaceships, it got a lot cuttier.
I agree that CP win was not truly an upset as that team had won an Oscar for “The Bourne Identity” when said film wasn’t even a BP contender.
But had Gravity won, which many pundits predicted that it would, it would indicate that there’s swell of love for the film that voters would overlook the accomplishment in CP’s editing.
Gravity’s loss here proves that voters are not drunk on Gravity Kool-Aid. It’s not really a setback but more of a reality check that voters can be sober when assessing this BP frontrunner.
And for this revelation, Gravity fans have reasons to be nervous.
It may be wise to point out that in the preferencial ballet the way that the #2 and #3 votes are counted is by starting with the least popular movie and then moving up from the bottom until there is a winner …ergo , it would be the votes from Philomena , Her , Nebraska,DBC and Capt Phillips that are counted BEFORE Wolf and AH ..these least popular movies could hold the key to who actually wins
@Tufinhas and the lot of you in denial about Gravity’s genre, at Netflix, they lay out as follows:
Gravity2013PG-13
As a medical engineer on her first shuttle mission embarks on a space walk with a seasoned astronaut, debris strikes their craft and destroys it — leaving the two floating through space tethered together, with no connection to Earth.
Cast:Sandra Bullock, George Clooney
Genre:Sci-Fi Thrillers, Suspense, Sci-Fi Dramas, Sci-Fi & Fantasy
Ok, so will you guys now start to realize that the awesome Gravity is Sci-fi? There’s no shame in recognizing that it is, it doesn’t diminish the film the least.
If anybody is interested (esp. Captain Phillips editing fans), there’s this article I stumbled on yesterday:
http://variety.com/2014/film/awards/ace-eddie-awards-paul-greengrass-rewrites-the-rules-for-editing-1201080231/
About American Hustle winning Comedy award. I’m all for it. How could someone make a somewhat watchable film out of all those scenes that made no sense whatsoever? Worthy of an award.
I’ve said before that there’s some really interesting editing going on in American Hustle. But on second thought, the cuts that really stood out for me were director and cinematographer decisions and the Editor really had no choice but to go along.
For example, when Bale’s Irving Rosenfeld first meets Amy Adams’ Sydney Prosser, he breaks the ice with her by asking about her Duke Ellington charm bracelet.
Up till the moment they meet, the movie is Irving’s point of view, he’s narrating in voice-over. But at the instant Irving grabs Sydney’s wrist in close-up, the point of view switches to the other side of Sydney’s wrist, in another close-up reverse shot. Sydney then takes over the voice-over narration.
The cut does feels jarring, jagged, like a lot of Russell transitions do, but it’s really well-designed to hand over the narration to the next character
The editing reflects that intention but it’s not something the editor came up with. In fact, it’s the director’s decision to film it that way and the editor is locked in to that choice. There’s no other way to do it.
Typically, the whole bracelet thing is false. Firstly, a Duke Ellington charm bracelet? That didn’t exist until 2012 when a 60-year-old amateur jewelry-maker made one and put it up for sale on Etsy.com.
One of Russell’s prop people was tasked with finding Duke Ellington jewelry and all he could find was this bracelet on the internet. It’s not vintage. It might have looked vintage if they left it alone, but when has Russell ever left well-enough alone?
Then they took the very cool original bracelet (which included Louis Armstrong, Billie Holiday and other black performers) and they ruined it.
They ruined a sweet subtle bracelet by removing all the other black performers and putting big blunt easy-to-see Ellington charms all over it. So it could be used as a hammer to beat us over the head with the plot point. As Russell likes to do.
So quite literally, Russell took all the original “charm” out of an interesting idea and amplified it into something ridiculously unlikely that never happened and never would have happened in real life.
(Unless we want to assume that Irving Rosenfeld had superhuman eyesight and saw the face of Duke Ellington on a charm smaller than a dime from 65 feet away).
Thus ends today’s little lesson on Everything That’s Wrong With David O Russell.
But back on topic, the editing to swap point of view between the characters in American Hustle was cleverly handled in several transition jump shots like that.
@Claudio: You knew what I meant. People jump to conclusions about all sorts of crap and that’s why I am tired and DONE with listening to bloggers that hop on different band wagons every time a new precursor is announced. I stand by my point.
It’s a defacto victory of sorts for 12 YAS…GRAVITY was the odds on favorite to win ACE and it didn’t , but CP beat 12 YAS too and so it’s not too much of a victory , unfortunately
It seems to me that the key to victory lies in which movie benefits most from the preferencial ballet in such a tight race ; you may perhaps of noticed that in some of the major critics awards 12 YAS was winning the first vote but losing the second or third ..it seems to have it’s loud , passionate supporters , but just not quite enough of them to gain an outright victory and therefore needs the # 2 votes from supporters of Wolf and AH
GRAVITY was the odds on favorite to win ACE and it didn’t.
This is false.
Only people who make the mistake of thinking Editing is “tech award” thought Editing would be swept up in the tide of tech awards for Gravity.
Editing is film language. It’s not tech. Editing is the essential grammar of movies. It’s not tech.
“But American Hustle over Wolf? Now that doesn’t even need an expert to call that bullsh_t.”
Yeah, that’s pretty lame, obviously, but it’s no surprise, which makes it somewhat easier to digest.
“So many people react to the most recent precursor win as “The Nail in the Coffin” for the movie that’s supposedly supposed to win best picture.”
I hate that too. You should always consider the big picture. Otherwise you’re basically just guessing, because you’re picking only ONE stat (out of the dozens available) and arbitrarily deeming it the be-all, end-all – it’s like if you got stuck on Argo not being nominated for BD last year and ignored the fact that it then won everything else.
“Don’t assume anything until the actual winners are revealed.”
Um, that’s kind of what this whole predicting business is all about, though…
“It’s not an editor’s movie. It’s pretty much the most anti-editor movie of the year.”
I would have thought doing long takes was still an editing decision and, since it works so well here, it deserves recognition as such, but I’m no expert so maybe you’re right.
But, anyway – why was (almost) everybody predicting Gravity to win if it was such an anti-editor movie? It’s a bit puzzling.
“I would have thought doing long takes was still an editing decision”
The Editor had nothing to do with that decision. That’s the Director’s decision. There was no Editor within 10 miles of the set when Cuaron and Lubeski decided that they wanted to go for the long takes.
Cuaron and Lubeski choreograph and shoot an 8-minute tour-de-force long take.
An Editor wanders in and says, “hey, that’s cool how there’s no edits! Let’s just leave it that way!”
Cuaron and Lubeski glare at the Editor and say, “Good idea. You’re a real genius.”
Claudiu Dobre
I’m explaining in a flippant way, but maybe another real-life example will help illustrate.
You are correct when you say that Gravity’s scarcity of edits is an ‘editing decision.’ Yes. But it’s not the Editor’s decision. The decision is taken out of the Editor’s hands.
There’s no music in No Country for Old Men. That’s a ‘music decision.’ But it’s not a Composer’s decision. See what I mean?
Gravity losing Best Film Editing means nothing for it’s chances in Best Picture. So many people react to the most recent precursor win as “The Nail in the Coffin” for the movie that’s supposedly supposed to win best picture. What happens when the BAFTA’s air? Are people going to switch their Best Supporting Actor and Actor predictions because the Dallas Buyers Club duo aren’t nominated? People need to chill out and really think about their predictions, and not rely on rubber stamping. Captain Phillips wins the ACE – nice. Does that mean it wins the Oscar? Maybe. But it’s not definitive. Who was predicting The Girl with the Dragon Tattoo to win Editing in 2011? Not many, I bet. I’m sure most of us had either Hugo or The Artist prelocked. Don’t assume anything until the actual winners are revealed.
I think that Her is more scifi than Gravity, but I guess you could say that 2 out of 9 nominees are somewhat science fiction.
Yes! Tero, thank you. Her is hardcore classic speculative sci-fi. Her is the kind of intellectual speculative sci-fi we used to see in literature before space-operas began to predominate in books and space-monsters in movies.
The most fictional part of Gravity is the fishy science. There’s sci-fi based on science and there’s sci-fi that ignores science. Her is the first kind. Gravity is the second kind.
“Again Gravity is not SciFi. Its set in near-space but its not aliens or time travel.”
It is sci fi. Since when sci fi has to have monsters or time travel in it?
“Another big loss for 12 Years a Slave! It lost SAG, DGA, ASC, and now ACE! Go Gravity, go! Winning best picture is possible!”
Is that how you try to deflect Gravity’s loss? Dude. Gravity lost ACE last night. Another big lost? Look at No Country For Old Men. 12 Years won PGA, didn’t it? Gravity lost ACE?? Oh, I thought you said you had it in the bag??lol
So much hatred for Gravity.
Again Gravity is not SciFi. Its set in near-space but its not aliens or time travel.
I don’t mind a Phillips win but Gravity seemed superior. But I’m not an expert, and neither is anyone here.
But American Hustle over Wolf? Now that doesn’t even need an expert to call that bullsh_t.
T.
Another big loss for 12 Years a Slave! It lost SAG, DGA, ASC, and now ACE! Go Gravity, go! Winning best picture is possible!
I have to admit i somewhat shocked as to GRAVITY not winning the best editing award. however GIVEN my sentimentality to Captain Phillips a film that well it not out of the question could be a outside slight chance for a upset look at this way…editing guild win does count a long way and can lead to a no. of other awards going its way and why the hell not? you wont come across a more compelling brilliant thriller this year…definitely poots the “oomph” in ‘edge of your seat’
Dont say i told you so but in aCTUAL FACT CAPTAIN PHILLIPS now irrespective of the WGA snubbing cos it di not qualify 12 years a slave, is building latew momentum and in major categories too.
the eddie traditionally goes to the film that wins best picture more often than not maybe not this year but who knows..
if one thing i credit oscar for not that it necessarily a compliment they know how to put a spanner in the works to further muddy the water of the oscar race..
a tie in the producers guild for that reason alone i think there will be split between GRAVITY and SLAVE
but on the other hand CAPTAIN PHILLIPS which surely in final voting must have been close runner up winner in producers guild ha taken out the EDDIE AND THE WGA!!!
Now that is something to be reckoned with..and osmething for pause for thought could we be looking at a three- way break?
either gravity or slave for best picture, and whoever wins best picture the other wins best dfirector,
and then finally another films ala Captain Phillips wins for best screenplay not out of the question and those naysayers who talk down captain phillips height of acheivement- watch this space.
I may be shocked GRAVITY did ot win best editing but it can be argued it far stronger in sound categories, cinematography, visual effects and i do think set design (though i admit that a long shot because let face it, art dfirection barely goes to science fiction films or am i wrong?)
But i certainly NOT suprrised and am otehrwise impressed and proud that Captain PHillips has won both writers guild and editing…dont be suyrprised folks…PHillips is a far bigger achievement than you give it credit for – and i must confess i love that film more so than 12 years a slave.
And do not discount the fact that a lot of voters irrespective come oscar time of their guilt for neglecting films of the past may be split between all three films…meaning it anyones win for best picture/ director and screenplay at MOst there could be a 2/3 win in which case the fiml that wins 2/3 will win best picture as in pic plus director or pic plus writing.
but otherwise i predict the following: not that i approve of the way it would be delegated:
BEst Picture: 12 Years a Slave
Best Director: Alfonso Cuaron
Best Screenplay: Captain Phillips
dont discount it everyone especially in a unpredictable oscar seaSON
“ObamaWins, your gloating is very rude to the fans of Gravity and its director.”
The obnoxious Gravity fans kind of made me want to gloat, and all these rules and predictions by the pundits made want to gloat. I am just passionate.
@Jon C
I don’t want to make sweeping statements, but how come a good amount of Gravity fans are all anti Obama??LOL. Is it because they are rooting for Gravity just to be anti 12 Years? The fact is Obama does win, he won two elections, didn’t he? OH, I am sorry to find out you are one of those ass holes like jedirises and AlfonsoWins from IMDB. Yeah, you want to go there and talk about politics on a forum like that? SO the way you fight back is to diss my screen name? Quit being psychotic already, and get over it, Gravity lost ACE, and people are allowed to dislike this film.
“…how come a good amount of Gravity fans are all anti Obama??”
A movie that sells $264M worth of tickets in America is going to accidentally sell half those tickets to Republicans. A lot of Republicans.
===
But let’s not fret about Gravity not winning the ACE. It’s not an editor’s movie. It’s pretty much the most anti-editor movie of the year. For the past 6 months everybody is in awe of Gravity’s long takes. “8 minutes without an edit!!” And then anyone is stunned when the movie with 20 cuts in its entire 90 minutes fails to wow the film editors?
Any film editor that tried to get close to Gravity with an edit was sent home with a stern scolding. Cuaron was like, “Get the fuck away from my long takes you edit-crazy editor! Go away. Come back in 8 minutes. We’ll need a splice 8 minutes from now. In fact, never mind, I’ll do it myself. Take the day off.”
The film editors were thrilled by Gravity’s editing the same way actors are thrilled by Gravity’s ensemble cast.
It takes nothing away from Gravity’s achievement to concede it’s a one-woman show with hardly any editing. That’s sort of the whole point of the stunt it pulled off.
“I do want 12 YAS to win, but I refuse to let my emotions cloud and impair my judgement and feel it’s best to observe these events with cool olympic detatchment”
I didn’t let my emotion cloud my judgement. It was a simple fact. Gravity did not win ACE as most predicted!
“You guys are hilarious 😉 So, what happend tonight? The frontrunner for “Best Editing”, Captain Phillips, won the ACE Eddie Award for “Best Editing”. This tells us NOTHING about the “Best
Picture” Race.”
Oh, really?! Since when was Captain Phillips the favorite for Editing??? I seem to recall Gravity winning that award pretty much everywhere, and people calling it a lock to win this and the Oscar (and all the other tech categories). Now, if you were predicting CP to win Editing, then good for you! But how was it ever the favorite?!…
“nor do I think that ”12YAS is back on top again”
It never left the position of top favorite…
I was predicting Captain Phillips to win this (didn’t even think about Comedy category), so why does this have any affect on Gravity’s possible BP win? I got a lot out of Gravity walking out of the theater, editing was not one of them. I got a lot out of Captain Phillips walking out of the theater, editing was one of them. ACE just got it right IMO, that’s all.
I don’t see this raising stocks for American Hustle. It’s still a two-movie race with very little chance anything else spoiling it.
Captain Phillips will win the Oscar for Editing as well. Its only win.
Thank you and fuck yeah! Gosh, all you phony group thinkin gravitards nearly had me doubting myself. Capt phillips was far and beyond the best edited movie of the year and I am thrilled that the ace recognized this. Gravity was lucky to be nominated if you ask me.
You guys are hilarious 😉 So, what happend tonight? The frontrunner for “Best Editing”, Captain Phillips, won the ACE Eddie Award for “Best Editing”. This tells us NOTHING about the “Best Picture” Race.
IF (and that’s a very big if) Gravity or 12 Years a Slave would have won, then it MAYBE would have ment something. Because neither Gravity nor 12 Years a Slave were ever the frontrunner for this award. Yes, Picture and Editing are tied together – but movies like Captain Phillips were made for the Eddie.
I really don’t understand, why Gravity was seen by some as the frontrunner. Yes, the editing is fantastic, because the long shots are only “long shots”, because they were edited as long shots (you know what I mean ;).
But my point is: You SEE the editing in Captain Phillips, but not in Gravity.
Christopher Rouse is one hell of a cutter – his Bourne Ultimatum win was never out of the question and he seemed to be the favorite for United 93, if he hadn’t Thelma Shoonmaker as his main opponent. This guy will collect quite some oscars for the next two decades, because you can SEE and FEEL his work.
So all this talk about “Gravity needed this win” is utter nonsense. Please stop making statistics into facts. The race between 12 years and Gravity (and American Hustle!) is still wide open and presumably will be till the last envelope on Oscar-night.
ObamaWins, your gloating is very rude to the fans of Gravity and its director. As much as I am in the camp of 12YAS, I love Gravity as well and will support the awards it wins. A 12YAS fan like you is making these threads difficult to participate in, if not embarrassing to read. Please chill out. Support 12YAS but not at the expense of Gravity fans and fans of other films.
This is the 2007 scenario playing out all over again. The didn’t want to give “Roderick Jaynes” both Editing and Best Director so they gave it to something else which just happened to also be a Paul Greengrass movie.
I also like the Captain Phillips win because it is about craft, not popularity. These guilds should avoid being reduced to precursors. They are wonderful awards in their own right.
When we discuss ASC we focus more on the actual cinematography than we do with ACE and editing. The ACE noms looked more like BP noms than the best of the craft.
I hope they break loose from their award being merely a popularity contest. The Captain Phillips win is a good sign.
American Hustle’s win here indicates that it could win best picture although I didn’t like the movie. I feel sorry for Gravity though, I really really wanted it to win. Oh well, they are going to reward Alfonso in directing not in editing then.
Captain Phillips, yay. I’m glad they actually gave it to the best edited film because I was starting to nod out.
It’s so funny win u read someone like obamawins gloat over gravity’s loss here, but with a name like that, how can u possibly take them seriously?
OBAMA WINS
I know how much Gravity fans love to brag about how it has everything in the bag. Gravity’s failure at ACE is surely a major setback!! We all know Captain Philips is not going to win Best Picture, this put 12 Years A Slave back on top again if you want to continue the silly pundits’ black and white prediction rules. Take that. Cuaron lost ACE!!
Congratulations to the fans of Captain Phillips
========================
It’s not a ”Major seback ” , but a minor one and it could easily win BP Oscar without it ..nor do I think that ”12YAS is back on top again ”but at best , CO FAVORITE …I do want 12 YAS to win, but I refuse to let my emotions cloud and impair my judgement and feel it’s best to observe these events with cool olympic detatchment
This race between gravity and 12 YAS is very , very difficult to predict and there is the X FACTOR ; the psychological unknown , how voters will respond to the ”importance ” of 12 YAS and I will readily confess that I simply don’t know
It may well be that after 12YAS’s dramatic win at BAFTA next week it could spark up and ignite an unstoppable momentum , or it could just dissipate and not influence voters too much …either way I wouldn’t bet money on it , but wisely hedge my bets on both
This is another reprieve for my beloved 12 YAS ; just when I starting to count it out …in the interests of fair play I don’t think that ”Gravity had to win ACE” ..that was an exageration on Sasha’s part..it’s a setback for Gravity that alows breathing space for 12 YAS in it’s battle between David and Goliath
I would recommend taking a look at STEVE PONDS video of how the preferential voting works (the Wrap)…he seems to believe it gives Gravity a crucial advantage and I suspect he may well be right
Cool picture, Ryan!
“I also hate to say: the Actors already filled their Gay Slot, so to speak.”
Yeah, that’s what I was thinking. I don’t think Behind the Candelabra would have done too well at all…
“So… AH has 2/3 the Crash precursors. it will be a contender all the way to the end.”
“And yes, AMERICAN HUSTLE is still a frontrunner.”
Of course! I’ve been saying it all along.
“It is this year’s Sliver Linings Playbook also won ACE for best comedy editing.”
Not quite true – in fact, not true at all! SLP didn’t win the SAG (which it was a favorite to win, by the way) and wasn’t nominated for the DGA, plus it was nowhere near the nomination leaderboard. It was MUCH weaker than AH is this year.
“I love it when Gravity fans face major set back, and they will still say
“It will still win, it doesn’t matter”, and before the ACE revealed the winners, Gravity fans were saying “Gravity needs to win ACE”,lol, and now, it doesn’t matter anymore??LOL”
Yeah, I get that impression as well. I bet Sasha doesn’t change her (real) prediction either, even though she too said that Gravity needed to win the ACE.
“And as a Gravity fan myself, I politely but firmly ask you to kiss my ass.”
Don’t get offended, Marshall! ObamaWins is half-troll 😀 – you should see his posts on IMDb! He can be very annoying sometimes, though I do believe he’s just passionate, not naturally malicious. And he’s on my side this year, so I’ve been mostly lucky in that respect. 🙂
“Captain Phillips’ Eddie win puts it as the locked predicted winner in the Statsgasm Editing Model, with a 73-21 lead over American Hustle.”
Nice!!! Now people can stop saying Gravity will sweep the techs and win a million Oscars and, as a result, simply can’t lose BP. It could still happen, but it’s not exactly likely anymore…
“But yes. It’s actually nice to see Paul Greengrass and Captain Phillips win an award. That was such a good movie.
“It’s okay Irish! Everything gonna be okay.”
I agree. :-)”
Me too. I think it’s great too, and my mother has seen both Gravity and 12 Years a Slave (she liked both, 12 Years a touch more, though she had trouble deciding when I asked her), but Captain Phillips was, in fact, her clear favorite of the 3 nominees that I showed her when she came over, a couple of weeks ago. And I didn’t really see that coming, either – I thought she might find it boring, but no.
“Gravity’s failure at ACE is surely a major setback!!”
“I do take this as a sign 12 Years a Slave is winning.”
“Her’s WGA’s win is the nail in the coffin for AH.”
Probably not major, but definitely a setback, which is nice, for a change… And yes, those are good signs for 12 Years, but not much more than that. There are 5 exceptions to the rule ‘BP winner must have an ACE win’ in the last 14 years, and 6 exceptions to the ‘BP winner must have a WGA win’ rule, which isn’t exactly negligible. So, no – everybody is still very much in this thing!
““Crash” had WGA as well and that is key (plus “Crash” won ACE in the more competitive drama category and not in the less competitive comedy category). “Shakespeare in Love” also won WGA.”
Good points, of course, but the sample size for this situation (DGA+PGA winner different from SAG winner and SAG winner gets ACE) is rather small, to say the least, so I don’t think this in any way buries American Hustle. Gravity has far more serious stats working against it than this one, so I still think it’s 3rd.
“I really thought Captain Phillips made much more sense as the Editing winner than Gravity.”
But, to be honest, I actually believe Gravity deserved to win this editing award.
“I fall into the side that will be happy to see either 12 Years a Slave, Gravity, or American Hustle win.”
You’re one lucky fellow! 🙂
“Just as long as it’s not Philomena. No offense to those fans.”
I’m somewhat of a Philomena fan (as in I have it in my top 6 for the year) – no offense taken!
“love this year after the boredom of the last several.”
I would too, but it sucks that it came right when I actually have my favorite movie in the mix for Best Picture. I would have preferred a PGA+DGA+SAG sweep for 12 Years, to be honest. I welcome the tension, but it blows that it’s precisely this year!
“Yeah, I have been a night owl for a long while now. All my other friends wake up at 5:00 am and go to sleep at 9:00 or 10:00 pm (on a regular basis).”
I have probably gone to sleep (and woken up) at every possible hour, and more than once. I’ve run the gamut… And I sleep a lot too – just can’t keep any kind of regular hours (I hate going to sleep, I always want to do one more thing before I do). Luckily, my work hours are quite flexible.
Gravity will mostly likely become this year’s Life of Pi or Private Ryan if it fails to win Best Editing or Best Score at the Oscars.
Best Director
Best Cinematography
Best Visual Effects
Best sound.
I have this feeling that Captain Philip is taking best sound editing too.
So for those of you who said “Gravity needs to win ACE”, now what are you going to say now? Gravity loss at ACE doesn’t mean anything,right?LOL
I’m part of the crowd that’s happy to see a total mishmash of mixed signals. Then more people can brag – at least until Oscar night. 🙂 When the BAFTAs roll around there’ll be more opportunities for crowing. I’m of the mind, and have been, that this year’s Oscar will be handed out in all directions. Still too close to call best picture, but the notion of an unlikely 12 YAS/Cuaron split is, indeed, looking like more of a possibility, and a Cuaron/Hustle split isn’t out of the question, either if Gravity doesn’t pull it off.
Besides the BAFTAs, the guilds that are yet to hand out their awards are . . . art direction and sound? What kind of tea leaves/surprises remain that can be analyzed to shreds? . . . 🙂
Yeah, I’ve also been re-listening to some of the recent Oscar Podcasts.
Hilarious:
Sasha: “Where is the vibrating coming from?”
Ryan: “It’s coming from Michael.”
Sasha: Laughs.
Terrific. 🙂
Ryan,
“I, I captain” *salutes*
Yeah, I have been a night owl for a long while now. All my other friends wake up at 5:00 am and go to sleep at 9:00 or 10:00 pm (on a regular basis).
You’re welcome. I just happened to still be awake at this late hour. Where I am it’s 2:35 in the morning. Granted it’s Friday night, and I don’t have to go anywhere in the morning. So, I spend my free time reading the Awards Daily comments. Always entertaining. 🙂
You’re on the night patrol, Al.
I wake up a lot in the middle of the night and first thing I do is reach for the phone and check comments. Always good to see you guys prowling around at all hours.
Okay, now the little red box is there. That’s fixed. Thanks Ryan. 🙂
I screwed up by trying to insert a jpg to illustrate the post. It made the FYC ad get confused about which graphic is the boss. It’s fixed now. Thanks for the fast feedback!
Oh, yeah, FrankieJ is right about that aspect. I guess I am not bothered by the Dallas Buyers Club ad. It looks like things just spread out, not where words are covered up.
Ryan–
Using Chrome The DALLAS BUYERS CLUB ad is completely eclipsing the first part of the article on the home page AND on the article page–I cannot read the first few lines. I can read from 20 FEET FROM STARDOM on.
I’m getting the ad on text thing in here too. Using Firefox.
The little red box I’m referring to is on the main page in the picture window. Not at the bottom of the page.
Ryan,
No. I don’t see any problems, other than this thread doesn’t have the little red box at the bottom showing how many comments have been made.
I’m using Google Chrome.
Ryan – I’m getting some funky stuff on the main page. Ads and article text are on top of each other.
I do think American Hustle is out. It’s lucky if it’s top 3. If that film wants to win an Oscar, they need to do a whisper campaign like when fans of Soderbergh all decided to vote for him for Traffic and not Erin Brockovich. The Hustle people need to tell everyone to throw it a bone in a single category like Production Design or Editing.
Can I ask if anyone is seeing display problems on the home page? Or is it just me?
American Hustle in solidly in the coffin!
I don’t think the ACE loss is necessarily a major setback for “Gravity,” but I do think it punctures a hole in the theory that “Gravity” is going to steamroll through all the techs.
I also don’t buy the theory that “American Hustle” may be positioning itself in “Crash” position. “Crash” had WGA as well and that is key (plus “Crash” won ACE in the more competitive drama category and not in the less competitive comedy category). “Shakespeare in Love” also won WGA. I still think “American Hustle” is solidly in third place.
“I do take this as a sign 12 Years a Slave is winning.”
Yup!!
It has been swinging my way lately. Her’s WGA’s win is the nail in the coffin for AH.
Gravity’s failure to win ACE is a major set back for team Gravity, and that put 12 Years A Slave on top again since Captain Philips is not going to win best picture!
And yes, maybe the Editors Guild felt they didn’t need to award a director. Or that Cuaron is already winning all the directing awards, so no need to honor his editing. Another sign that no one film is dominating even the tech categories. I do take this as a sign 12 Years a Slave is winning.
After all, Argo hardly won anything, and Life of Pi had both the technical support and the Best Director (even if that was only because Affleck was out).
And maybe, just MAYBE, American Hustle wins its sole Oscar in Editing. I’m not sure I see that happening for this kind of film.
Sasha Stone wrote “Gravity needs this win. Can it still win Best Picture without it? Sure. But it is less likely, given the kind of movie that it is — heavy on the tech side of things. Captain Phillips has dazzling, memorable editing, which could give it the win.”
“But it is less likely” must be driving Gravity fans crazy. I bet Gravity fans really thought it had the ACE in the bag,lol. Don’t mean to gloat, but, oh well, fuck it, I am gloating. American Hustle’s win is meaningless as Silver Linings Playbook last year also won ACE’s best comedy editing. Hooray, it is so refreshing to see Gravity’s name not mentioned at the a major guild awards! A fucking C E!
Rob Y,
Huh?? I don’t understand your reference.
I love it when Gravity fans face major set back, and they will still say
“It will still win, it doesn’t matter”, and before the ACE revealed the winners, Gravity fans were saying “Gravity needs to win ACE”,lol, and now, it doesn’t matter anymore??LOL
But yes. It’s actually nice to see Paul Greengrass and Captain Phillips win an award. That was such a good movie.
“It’s okay Irish! Everything gonna be okay.”
I agree. 🙂
IT’S MY SANDBOX!
IT’S MY SANDBOX!
IT’S MY SANDBOX!
IT’S MY SANDBOX!
“12 YEARS A SLAVE lost also. 🙂 And yes, AMERICAN HUSTLE is still a frontrunner. :-)”
Dude. American Hustle failed to win PGA, DGA, WGA. It is this year’s Sliver Linings Playbook also won ACE for best comedy editing.
Wake up already.
I really thought Captain Phillips made much more sense as the Editing winner than Gravity. Gravity’s editing is so unnoticeable (though seamless) with all those long sequences, even if they were secretly spliced together.
Oscars could still give everything to Gravity, including Picture, but now I’m inclined to think they will repeat last year’s pattern of spreading the wins around. Everyone agrees that it’s a strong year. Life of Pi last year was an artistic masterpiece, but it only won 3 technical awards, and neither Sound. Captain Phillips could actually win Editing and both Sounds — 3 awards. When Hugo swept the FX categories, by comparison, it had little competition. Now as I always suspected, the guilds are not just handing Gravity — OR 12 Years a Slave — additional wins.
Bob,
Exactly! 🙂 It’s all, as Jason Reitman’s movie is called:
Up in the Air.
love this year after the boredom of the last several.
But then again, I took the strengths (personality) test, and “harmony” was my best strength. For what that’s worth. 🙂
@ObamaWins: 12 YEARS A SLAVE lost also. 🙂 And yes, AMERICAN HUSTLE is still a frontrunner. 🙂
Hooray. Gravity didn’t get WGA, didn’t win ACE, it tied with 12 Years at PGA. No screenplay nod at WGA, no screenplay nod at the Oscars. It is an one woman sci fi show. Yeah, its DGA win just means it puts Cuaron in the bag of Best Directing race, but not the best picture!
I like how so many people have taken their sides of this battle. There’s the Gravity side, the 12 Years a Slave Side, the American Hustle side, and the anything else side. I fall into the side that will be happy to see either 12 Years a Slave, Gravity, or American Hustle win. Just as long as it’s not Philomena. No offense to those fans.
But what I also wanted to say is that I love how no matter what wins these awards, they are still great and enjoyable movies. We ALL win. 🙂
“And as a Gravity fan myself, I politely but firmly ask you to kiss my ass.”
Who cares about that meaningless Statsgasm editing model?
Apparently. The ACE editors preferred Captain Philips.
I know how much Gravity fans love to brag about how it has everything in the bag. Gravity’s failure at ACE is surely a major setback!! We all know Captain Philips is not going to win Best Picture, this put 12 Years A Slave back on top again if you want to continue the silly pundits’ black and white prediction rules. Take that. Cuaron lost ACE!!
Congratulations to the fans of Captain Phillips!
And as a Gravity fan myself, I politely but firmly ask you to kiss my ass.
Captain Phillips’ Eddie win puts it as the locked predicted winner in the Statsgasm Editing Model, with a 73-21 lead over American Hustle.
Thank god, it is not Gravity!! Hooray. This will shut up the annoying Gravity fans for a little while. 12 Years A Slave, go go go
Captain Phillips!!!!!
Well, they blew that. Gravity will probably still win the Oscar though.
All hell breaks loose.
If AH had been up against Gravity or 12 Years this ACE would mean more competitively
AH has no DGA, PGA, WGA, it is going to be hard for it to pull an upset, sorry.
So… AH has 2/3 the Crash precursors. it will be a contender all the way to the end.
BEST EDITED FEATURE (COMEDY/MUSICAL)
American Hustle, Jay Cassidy, Crispin Struthers & Alan Baumgarten
BEST EDITED ANIMATED FEATURE FILM
Frozen, Jeff Draheim
^ And sadly we lost both men, 2/5ths of arguably the best Best Actor lineup in this century, way too early to drugs. :-/
”I also hate to say: the Actors already filled their Gay Slot.”
FYI: The Academy did nominate 2 men for playing gay in 2005: Philip Seymour Hoffman in ”Capote” and Heath Ledger in ”Brokeback.” 😉
BEST EDITED ONE-HOUR SERIES FOR COMMERCIAL TV
Breaking Bad, “Felina”, Skip MacDonald
BEST EDITED ONE-HOUR SERIES FOR NON-COMMERCIAL TELEVISION
Homeland, “Big Man in Tehran”, Terry Kelley
BEST EDITED HALF-HOUR SERIES FOR TV
The Office, “Finale”, David Rogers & Claire Scanlon
Bale was able to get in over both Hanks and Redford, not sure if Douglas would have enough support.
I hate to say, but as soon as Behind the Candelabra made as little money at the box office as All Is Lost then Douglas and Redford would’ve been in the same boat, so to speak.
I also hate to say: the Actors already filled their Gay Slot, so to speak.
I think Bale would have been bumped.
Candelabra at the last would have gotten a Makeup nod, but who even knows considering that branch is off in their own bubble every year. I don’t know if Douglas could have broken through a crowded Best Actor field, but Damon may have had an outside shot in Supporting Actor.
Looks like there’s multiple career achievement awards tonight in addition to Paul Greengrass winning the Golden Eddie.
CAREER ACHIEVEMENT
Robert C. Jones
I wonder how the Oscar Race would have been different if Candelabra had been released theatrically.
BEST EDITED MINISERIES OR MOTION PICTURE FOR TV
Behind the Candelabra, Mary Ann Bernard
HERITAGE AWARD
Randy Roberts
BEST STUDENT EDITING
Ambar Salinas, Video Symphony
BEST EDITED DOCUMENTARY (TELEVISION)
The Assassination of President Kennedy, Chris A. Peterson
BEST EDITED DOCUMENTARY (FEATURE)
20 Feet From Stardom, Douglas Blush, Kevin Klauber & Jason Zeldes
BEST EDITED NON-SCRIPTED SERIES
Anthony Bourdain Parts Unknown Tokyo, Nick Brigden
CAREER ACHIEVEMENT
Richard Halsey