The editors have spoken. Though editing is an artform that greatly fascinates me I nearly always take issue with the ACE nominations. More than most craftsmen, the editors in the guild and in Oscar's editing branch seem to just pick their favorite Best Picture contenders every year even in cases where the editing might not be anywhere close to its strongest element. I understand why people love Hugo for example -- I really do despite my protestations -- but even though I think Thelma Schoonmaker is one of the most gifted editors who ever walked the earth, her work on Hugo is not up to her general (very high) standards. I've discussed this with Nick several times so I know I wasn't imagining it. We were both flabbergasted at the amount of shot / reverse shots where the children just sort of stare at each other blankly in scene after scene.
There is so much dead space in that picture weighing it down. Not trying to pick on Thelma but their choices across the board just look like they were trying to catch up on the Oscar buzz.
COMEDY or MUSICAL Nominees
- The Artist - Anne-Sophie Bion & Michel Hazanavicius
- Bridesmaids - William Kerr & Michael L Sale
- Midnight in Paris - Alisa Lepselter
- My Week With Marilyn - Adam Recht
- Young Adult - Dana E Glauberman
Another interesting point of discussion is Bridesmaids. Given the improvisational nature of the performances, it must have been hell to edit (a very enjoyable kind of hell) so points for managing and it definitely takes great editing skill to make that many jokes land. So props to Kerr & Sale (who are far from the least worthy nominee in this lineup). But, with the compliments out of the way, isn't one of the main criticisms of Bridesmaids that it feels shapeless, haphazard and that it's way too long? And isn't editing a great factor in whether or not movies feel that way?
Dana Glauberman at the Hollywood Awards last yearMy favorite nomination here might be Dana Glauberman's (pictured left) for Young Adult. I think she's really special as editors go (see also: Up in the Air for which she was absurdly not Oscar nominated). Her work for Reitman tends to have great rhythm, the cut choices are smart and it's just tight tight tight. There is no fat on that picture whatsoever.
Will any of the comedy nominees make it to Oscar? The Artist might. You could also argue that editing is even slightly more crucial to the success of comedy (it's all in the timing) and action (it's all in the rhythms and sustained tension) than to dramatic pictures. And yet with Oscar you'll find that mostly drama is honored... because that's where the "best pictures" are located. In short, I'd like the editors to think a little harder on their selections from year to year.
DRAMA Nominees
- The Descendants -Kevin Tent
- The Girl with the Dragon Tattoo - Angus Wall & Kirk Baxter
- Hugo - Thelma Schoonmaker
- Moneyball - Christopher Tellefsen
- War Horse - Michael Kahn
Christopher Tellefsen in the editing bayMy vote -- if only I had one -- would go to Christopher Tellefsen in a split second. Moneyball had such great easy flow, consistently engaging whether it was cutting from footage to flashback to the linear story being told, and really attuned to the nuances of Brad Pitt's star turn.
Will all of these make it to Oscar?
I truly think Tellefsen is deserving, which is why I worry he's the most likely to be dropped when Oscar nominations roll in. Argh!
ANIMATED FEATURE Nominees
- The Adventures of Tintin - Michael Kahn
- Puss in Boots -Eric Dapkewicz
- Rango - Craig Wood
More nominations for television over at the American Cinema Editors official site.