I Met Thelma Schoonmaker at the TCM Film Festival

Our coverage of the TCM's 2014 festival in Los Angeles wraps with Anne Marie on legendary editor Thelma Schoonmaker

Thelma in the editing bay...

Thelma Schoonmaker is surprisingly calm. Not just calm, calming. As I sat listening to her twice at TCMFF--first at the introduction for A Matter Of Life And Death, next at an hourlong interview--I marveled at the three-time Oscar winning editor's stillness. Considering she is the preferred collaborator of Martin Scorsese, an infamously energetic director, one would think she'd need reservoirs of energy to tackle the boxing matches in Raging Bull or the tense chases in The Departed.

Schoonmaker wasn't at TCMFF to speak about herself, though...

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Link Commando

Vanity Fair Bradley Cooper's commando White House trip
Theater Mania a screening of West Side Story on Sunday at 5 PM in New York. Rita Moreno will speak to the crowd. Who's going?
PopBytes Pushing Daisies might be coming back... as a musical! 
1:37:1 How often are entire Oscar nominated shortlists absent a Best Picture nominated film? Rarely. And almost always in the same category. I'll give you one guess  

Broadway World somehow I missed these images in early February from the set of Macbeth starring Michael Fassbender and Marion Cotillard so maybe you did, too?
Guardian films that use both black and white and color sequences
Film School Rejects looks to Foreign Correspondent, not Rebecca (both 1940) as the prototype for Hitchcock's Hollywood films 
NYT Neil Patrick Harris prepares for his Broadway turn in Hedwig and the Angry Inch
/Film Roger Deakins is not returning to the land of 007 post Skyfall for the the as yet untitled Bond 24. This is going to be a tough movie for all of them: how do you follow up that 50th anniversary behemoth?
NPR talks to Steve McQueen and the Oscar nominated editor of 12 Years a Slave about assembling the movie
MNPP Jake Gyllenhaal doubled up in Enemy, a behind the scenes look
In Contention an oral history of Reality Bites (1994) for its 20th anniversary 

Finally...  The Film Stage reminds us that Tom at the Farm, Xavier Dolan's wonderfully tense queer thriller still doesn't have US distribution but it has a new poster. Bam

I miss the days when US audiences went to the arthouse and talked about subtitled hits... *sniffle* Now people only binge-watch American television. We're a nation of shut-ins!

ACE Eddie Awards: "Captain Phillips" Surprises

The Ace Eddie Award is given by Hollywood's film editor's guild. It was a very good year for music, since three of the big winners (20 Feet From Stardom, Frozen, and Behind the Candelabra) are musicals or in bed with the genre somehow. But that's not the big story.

The big surprise has to be the win for Captain Phillips which was up against both Gravity and 12 Years A Slave, the two presumed frontrunners for the Best Picture Oscar. What a tight race this year is bringing us and BEST EDITING, when it's announced on Oscar night, will not tell us who's winning Best Picture. It's oft repeated that it's nearly impossible to win Best Picture without an Editing nomination. But it's VERY possible to lose Editing and still win Best Picture. In fact, nearly half of modern Best Pictures do lose that statue...

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We Can't Wait #7: Snowpiercer

[In the We Can't Wait series we're looking at our top 14 most exciting film prospects for 2014. Previously: Nymphomaniac, Boyhood, Big Eyes, The Last 5 Years, Gone Girl , Can a Song Save Your Life and Veronica Mars plus movies that just missed the cut. Here's Anne Marie on a 2013 offering that was delayed. -Editor]

Snowpiercer
Joon-ho Bong's much-discussed scifi masterpiece (?). A train powered by a perpetual-motion machine cuts through a snowy post-apocalyptic earth. Onboard, a caste system has developed. All is thrown into chaos when the lowest classes revolt and fight their way, car by car, to the front.

Talent
Joon-ho Bong brings together a versatile cast including Tilda Swinton, Chris Evans, Ed Harris, Jamie Bell, Allison Pill John Hurt, and Octavia Spencer.

Why We Can't Wait
Joon-ho Bong (The Host, Mother) has been rightfully called one of the greatest directors in Korean cinema, an area filled to brimming with great directors. Even if you don't know Joon-ho Bong's work well, the idea of a post-apocalyptic train heist movie starring Tilda Swinton should be reason enough to get any self-respecting sci-fi fan excited. Still not convinced? The film has done over $50 million internationally and has been officially selected as the best Korean film of 2013. Snowpiercer has been hailed as a new Metropolis, using its extraordinary world to tell an intelligent story of class struggle and humanity.

But We Do Have To Wait
Unfortunately for Americans, Harvey Weinstein thinks we're too unintelligent for this movie. Since Weinstein picked up the film's US distribution rights last year, he has been garnering lots of bad publicity for his decision to cut 20 minutes out of the US release. His reasoning? He doesn't think it would play well in middle America. Instead of 20 minutes of exposition, he's added voice-overs to cover the lost information. (Anybody else getting Blade Runner deja vu?) Joon-ho Bong has publically stated he's against it, but Weinstein has yet to relent. No official US release date has been announced, but folks may want to skip it anyway and wait for the uncut film to be released on Bluray and digital download, whenever that may be.

Editors' Picks.

Jose here. Today we have the announcement from the American Cinema Editors who - shocker - went for more of the same movies! For almost 40 years, the Eddies were awarded to a single motion picture (their first winner was The Parent Trap and their last was the acclaimed Saving Private Ryan) but then they decided that they too needed to include as many movies as possible and split their award into Drama and Musical & Comedy. Now excuse me if I sound ignorant (I did go to film school and all...) but isn't editing exactly the same for both? It's not like you use different equipment and/or need to have different skills to do each, right? Isn't the editor's job actually (along with the director of course) to decide just how funny or how dramatic each movie will be? So I really don't get why guilds need to invent such categories. I don't see the ASC doing that, but god I love the cinematographers for being the classiest guild...anyway enough with my complaining.

Here are the nominees for this year's Eddies:

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