American Cinema Editors (ACE) will present veteran editors Janet Ashikaga, ACE and Thelma Schoonmaker, ACE with the organization’s prestigious Career Achievement honors at the 67th Annual ACE Eddie Awards on Friday, January 27, in the International Ballroom of the Beverly Hilton Hotel. The Career Achievement Award honors veteran editors whose body of work and reputation within the industry is outstanding. As previously announced, J.J. Abrams will receive the ACE Golden Eddie Filmmaker of the Year Award and winners for best editing will be announced in ten categories of film, television and documentaries.
“Janet Ashikaga and Thelma Schoonmaker have helped create some of the most iconic films and television programs in entertainment,” stated the ACE Board of Directors. “And while their resumes alone are deserving of recognition and celebration, their commitment to the film editing community and shining a light on the craft of film editing is also noteworthy. For these reasons and more, we are thrilled to honor them with Career Achievement awards for their indelible contributions to the craft and community of film editing.”
Ten-time Emmy® Award nominee and Four-time Emmy® Award winner editor Ashikaga has worked on some of the most renowned TV series in recent memory including Seinfeld, Sports Night, My Name is Earl and The West Wing. She is a seven-time ACE Eddie Award nominee and one of the most respected editors working today, not only because of her prolific achievements in film editing but because of her dedication to mentorship and education on behalf of the editing community and American Cinema Editors.
Schoonmaker is a seven-time Academy Award® nominee and a three-time Academy Award® winner for Raging Bull, The Aviator and The Departed. She has been nominated for the ACE Eddie Award eight times and has won four times. For almost five decades she has been working with Martin Scorsese, marking one of the most significant editor/director partnerships in cinema’s history. She first worked with him in 1967 editing Who’s That Knocking on My Door and went on to edit Street Scenes in 1970 and The Last Waltz in 1978. It was in 1980 when her work on Scorsese’s Raging Bull earned this prolific editor her first Oscar®. Most recently she edited Scorsese’s 28 years-in-the-making passion project Silence. In between, her tremendous filmography boasts titles like The Color of Money, The Last Temptation of Christ, Goodfellas, The Age of Innocence, Casino, Gangs of New York, The Aviator, The Departed, Shutter Island, Hugo and The Wolf of Wall Street, to name but a few. She was recently honored by the New York Film Critics Circle for her distinguished career in film editing.
Alfonso Cuarón and Cate Blanchett Bring “Disclaimer” To Television
"Disclaimer" pulls the rug out from the audience before they've had the chance to get settled.
There's no building of empathy for its central character, Cate Blanchett's Catherine Ravenscroft. There's no luxuriating in her banal every day, at work or in her plush London home with her snobbish husband (Sacha Baron Cohen) and directionless, resentful adult son (Kodi Smit-McPhee). All we know at the beginning of the seven-part series, which begins rolling out on Apple TV+ Friday, is that she's an acclaimed documentary filmmaker who is being feted by Christiane Amanpour.
But almost immediately her life starts to spiral when she receives an anonymous, self-published book about a young mother on vacation in Italy with her toddler son that's shockingly familiar. The woman in the book meets a young man who later drowns while trying to save her son. When the police question her, she denies knowing him and returns to London. It's a memory that Catherine has long kept buried and secret but has now emerged in spectacularly embarrassing, reputation-destroying fashion along with a batch of intimate, provocative photos that the young man, Jonathan (Louis Partridge) took the night before.
"Disclaimer" throws you into the fire; And like everyone else in the show, from strangers reading the book to Catherine's husband, you start making assumptions about and judging her. Not even Blanchett was immune reading the script. She wondered: Is this woman awful?
"I was shocked at the layers of judgment that I transposed on the character," Blanchett said. "The challenge and agony of playing a character like this is that the crisis happens as soon as you meet her. We know nothing about her, only what people are saying about her."
Told in seven chapters, the... Read More