ACE and Art Directors Guild Awards Nominations
Wednesday, December 11, 2019 at 5:30PM 
American Cinema Editors (ACE), the honorary society of film editors, today announced their nominations for 2019. For the first time in their history three foreign language films are among the nominees The Farewell, Parasite and I Lost My Body. Some of the films that solidified their awards path with editing nominations include The Irishman, Jojo Rabbit, Joker and Once Upon a Time in Hollywood. All these films have been recognized by all the guild that have announced awards so far.
Missing from the list again is Little Women which was also blanked earlier today by SAG. Hustlers seems to be only about Jennifer Lopez, it missed here and so far only the costume designers showed that they have taste. Taking the spot of the contemporary crowd pleaser with both guilds is Knives Out.
The big miss with the production design guild awards is again Little Women. Marriage Story also didn’t make the cut, production designers becoming the first award body to blank that film. The full lists are after the jump.....
BEST EDITED FEATURE FILM (DRAMA):
Ford v Ferrari, Michael McCusker & Andrew Buckland
The Irishman, Thelma Schoonmaker
Joker, Jeff Groth
Marriage Story, Jennifer Lame
Parasite, Jinmo Yang
BEST EDITED FEATURE FILM (COMEDY):
Dolemite is My Name, Billy Fox
The Farewell, Michael Taylor & Matthew Friedman
Jojo Rabbit, Tom Eagles
Knives Out, Bob Ducsay
Once Upon a Time in Hollywood, Fred Raskin
BEST EDITED ANIMATED FEATURE FILM:
Frozen 2, Jeff Draheim
I Lost My Body, Benjamin Massoubre
Toy Story 4, Axel Geddes
BEST EDITED DOCUMENTARY (FEATURE):
American Factory, Lindsay Utz
Apollo 11, Todd Douglas Miller
Linda Ronstadt: The Sound of My Voice, Jake Pushinsky & Heidi Scharfe
Making Waves: The Art of Cinematic Sound, David J. Turner & Thomas G. Miller
BEST EDITED DOCUMENTARY (NON-THEATRICAL):
Abducted in Plain Sight, James Cude
Bathtubs Over Broadway, Dava Whisenant
Leaving Neverland, Jules Cornell
What's My Name: Muhammad Ali, Jake Pushinsky
BEST EDITED COMEDY SERIES FOR COMMERCIAL TELEVISION:
Better Things, Janet Weinberg
Crazy Ex-Girlfriend, Nena Erb
The Good Place, Eric Kissack
Schitt’s Creek, Trevor Ambrose
BEST EDITED COMEDY SERIES FOR NON-COMMERCIAL TELEVISION:
Barry, Kyle Reiter
Dead to Me, Liza Cardinale
Fleabag, Gary Dollner
Russian Doll, Todd Downing
BEST EDITED DRAMA SERIES FOR COMMERCIAL TELEVISION:
Chicago Med, David J. Siegel
Killing Eve, Dan Crinnion
Killing Eve, Al Morrow
Mr. Robot, Rosanne Tan
BEST EDITED DRAMA SERIES FOR NON-COMMERCIAL TELEVISION:
Euphoria, Julio C. Perez IV
Game of Thrones, Tim Porter
Mindhunter, Kirk Baxter
Watchmen, David Eisenberg
BEST EDITED MINISERIES OR MOTION PICTURE FOR TELEVISION:
Chernobyl, Jinx Godfrey & Simon Smith
Fosse/Verdon, Tim Streeto
When They See Us, Terilyn A. Shropshire
BEST EDITED NON-SCRIPTED SERIES:
Deadliest Catch, Ben Bulatao, Rob Butler, Isaiah Camp, Greg Cornejo, Joe Mikan
Surviving R. Kelly, Stephanie Neroes, Sam Citron, LaRonda Morris, Rachel Cushing, Justin Goll, Masayoshi Matsuda, Kyle Schadt
VICE Investigates, Cameron Dennis, Kelly Kendrick, Joe Matoske, Ryo Ikegami
Nominees for Excellence in Production Design
PERIOD FILM
Ford v Ferrari Production Designer: François Audouy
The Irishman Production Designer: Bob Shaw
Jojo Rabbit Production Designer: Ra Vincent
Joker Production Designer: Mark Friedberg
1917 Production Designer: Dennis Gassner
Once Upon A Time in Hollywood Production Designer: Barbara Ling
FANTASY FILM
Ad Astra Production Designer: Kevin Thompson
Aladdin Production Designer: Gemma Jackson
Avengers: Endgame Production Designer: Charles Wood
Dumbo Production Designer: Rick Heinrichs
Maleficent: Mistress of Evil Production Designer: Patrick Tatopoulos
Star Wars: The Rise of Skywalker Production Designers: Rick Carter, Kevin Jenkins
CONTEMPORARY FILM
A Beautiful Day in the Neighborhood Production Designer: Jade Healy
John Wick: Chapter 3 — Parabellum Production Designer: Kevin Kavanaugh
Knives Out Production Designer: David Crank
Parasite Production Designer: Lee Ha-Jun
Us Production Designer: Ruth De Jong
ANIMATED FILM
Abominable Production Designer: Max Boas
Frozen II Production Designer: Michael Giaimo
How To Train Your Dragon: The Hidden World Production Designer: Pierre-Olivier Vincent
The Lion King Production Designer: James Chinlund
Toy Story 4 Production Designer: Bob Pauley
Nominees for Excellence in Production Design for Television:
ONE-HOUR PERIOD OR FANTASY SINGLE-CAMERA SERIES
A Series of Unfortunate Events Production Designer: Bo Welch
The Crown Production Designer: Martin Childs
Game of Throne Production Designer: Deborah Riley
The Mandalorian Production Designer: Andrew L. Jones
The Marvelous Mrs. Maisel Production Designer: Bill Groom
ONE-HOUR CONTEMPORARY SINGLE-CAMERA SERIES
Big Little Lies Production Designer: John Paino
The Boys Production Designer: Dave Blass
Euphoria Production Designer: Kay Lee
The Handmaid’s Tale Production Designer: Elizabeth Williams
The Umbrella Academy Production Designer: Mark Worthington
TELEVISION MOVIE OR LIMITED SERIES
Black Mirror Production Designer: Anne Beauchamp
Catch-22 Production Designer: David Gropman
Chernobyl Production Designer: Luke Hull
Deadwood Production Designer: Maria Caso
Fosse/Verdon Production Designer: Alex DiGerlando
HALF HOUR SINGLE-CAMERA SERIES
Barry Production Designer: Tyler B. Robinson
Fleabag Production Designer: Jonathan Paul Green
GLOW Production Designer: Todd Fjelsted
The Good Place Production Designer: Ian Phillips
Russian Doll Production Designer: Michael Bricker
MULTI-CAMERA SERIES
The Big Bang Theory Production Designer: John Shaffner
The Cool Kids Production Designer: Stephan Olson
Family Reunion Production Designer: Aiyanna Trotter
No Good Nick Production Designer: Kristan Andrews
Will & Grace Production Designer: Glenda Rovello
SHORT FORMAT: WEB SERIES, MUSIC VIDEO OR COMMERCIAL
Apple: It’s Tough Out There Production Designer: Quito Cooksey
Ariana Grande, Miley Cyrus, Lana Del Rey: Don’t Call Me Angel Production Designer: Emma Fairley
MedMen: The New Normal Production Designer: James Chinlund
Portal for Facebook: A Very Muppet Portal Launch Production Designer: Alex DiGerlando
Taylor Swift: Lover Production Designer: Kurt Gefke
Reader Comments (14)
The omissions of Little Women are reminiscent of the fate of Carol, another pre-awards favorite missing again and again and falling way short at the Oscars.
I’m really surprised 1917 missed with the Editors Guild. I’m sure the late screenings and the whole “one shot” style hurt it, but I still assumed that the love for war/action films would push it through. This snub along with yesterday’s miss at the Cinema Audio Society awards makes me think the industry might not be too high on this one.
I am NOT going to take this as a sign that I need to watch MALEFICENT 2. I am NOT going to take this as a sign that I need to watch MALEFICENT 2. I am NOT...
I would give the best editing to "Ford vs Ferrari
Where’s Pain and Glory?! That cave!
I saw a preview screening of 1917 with a regular audience in Times Square Regal theater. It was just okay. Response wasn’t that enthusiastic. The craft is there, but it feels more like a video game, and I don’t really mean that kindly. I just think, a lot of people are trying to make this film happen, but you can’t force these things.
This may be super obscure but I'm fascinated by the distinction between "commercial television" vs "non-commercial television." I'd never thought about it before, but it seems to obvious the task of editing for a broadcast format that includes commercials is really different than editing for a show that doesn't take breaks.
I don’t get the editing nod for OUATIH, because the editing is one of the worst things about it.
But I’m very happy for the citation for the Linda Ronstadt doc. A great way to follow the Kennedy Center Honors this past weekend.
What did the ADG think of the SPACE in Marriage Story? LMAO
brookesboy: I know what you mean about the editing in OUATIH, but I thought the editing during the ranch sequence was outstanding - as good as the La Louisiane sequence in Inglourious Basterds. It felt as though, three films in as Tarantino's new lead editor, Fred Raskin delivered a piece as impeccable as the late Sally Menke at her best. The ranch sequence spun the film around for me, turning it from a fascinating jaunt to an ominous thriller.
I'm convinced LITTLE WOMEN's commercial performance - likely a gangbusters one - will greatly help it in advance of Oscar noms morning.
Edward--I know lots of folks love that sequence. But it did not work for me. I'm not a huge Tarantino fan, but I've always admired his talent at creating suspense. Here, I didn't feel it. I'm probably in the minority. The movie as a whole really wandered all over the place--not in a welcoming way, but in a fairly messy way, I thought. It was though the director's indulgence was coming to the forefront, again. This has nothing to do with the editing, but the ending really sunk the film for me. There were plenty of enjoyable elements, not the least of which is Margot's performance. But that ending just left a very bad taste in my mouth. Sigh.
"Killing Eve" has 2 nominations in the same category?
Glad to see "Crazy Ex Girlfriend" still getting love.
Wouldn't imaging Editing is too big a factor for "Marriage Story" or "Little Women", though I haven't seen them yet.
"OUATIH" was mesmerizing in the Ranch scene.
RV -- i totally agree. it is totally different rhytms... it started becoming clear to me after streaming began and you would see old shows without commercial interruptions and the pacing was always so staccato.