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Joel Kinnaman (left), and Gary Oldman in a scene from ‘RoboCop’ which opens in US on Feb 12. (AP)
‘Phillips’, ‘Hustle’ top ACE awards ‘Frozen’ named best-edited animated feature

LOS ANGELES, Feb 11, (RTRS): “Captain Phillips” and “American Hustle” have been named the best edited films of 2013 by the American Cinema Editors, who gave out their 64th annual ACE Eddie Awards at the Beverly Hilton Hotel on Friday night. In the Best Edited Feature Film (Dramatic) category, which closely corresponds to both the Oscar winner for film editing and the Best Picture winner, “Captain Phillips” was a slight surprise winner over the presumed favorite, “Gravity.” To make the night even better for “Captain Phillips,” the film’s director, Paul Greengrass, had previously been announced as recipient of the 2014 ACE Golden Eddie Filmmaker of the Year Award. He was on hand to not only accept his honorary award but to see his editor, Christopher Rouse, win the competitive prize as well — and so was the film’s star, Tom Hanks, who presented the award to Greengrass. In the ACE Eddies’ comedy or musical category, “American Hustle” beat out a field that also included “The Wolf of Wall Street” and “Inside Llewyn Davis,” giving Sony a two-for-two night in the big film awards.

Over the last 20 years, the Oscar winner for film editing has first won the ACE Eddie 17 times. (Of that number, all but one won in the drama category.) During that two-decade stretch, an ACE Eddie winner has gone on to be named Best Picture at the Oscars 13 times. “Frozen” won the award for best-edited animated feature, while “20 Feet From Stardom” and “The Assassination of President Kennedy” took top honors for film and TV documentaries, respectively. In the one-hour series for commercial television category, “Breaking Bad” had four of the five nominations but somehow managed not to split the vote, with its episode “Felina” winning. The finale of another departing series, “The Office,” won for half-hour TV series.

Steven Soderbergh won the editing award for a miniseries or TV movie for “Behind the Candelabra,” though he did so under the phony name of Mary Ann Bernard, the alias he uses when he edits his own films. An assistant editor accepted the award on Soderbergh’s behalf, and read a letter in which the director dedicated the award to his mother, whose maiden name was Mary Ann Bernard and who, he said, had died on Friday morning. An episode of “Homeland” won in the one-hour, non-commercial TV category, while the non-scripted series award went to “Anthony Bourdain: Parts Unknown.” Other honorary awards included Lifetime Career Achievement Awards to Robert C. Jones and Richard Halsey, A.C.E.; and the Heritage Award to Randy Roberts, A.C.E.

“Nebraska” and “Breaking Bad” star Bob Odenkirk hosted the ceremony, which took place in the International Ballroom of the Beverly Hilton Hotel. Presenters included Leonardo DiCaprio, Warren Beatty, Sarah Paulson, Peter Krause and Will Forte and June Squibb. The American Cinema Editors is not a guild or union, but an honorary organization of several hundred film editors. It was formed in 1950, and first gave out awards the following year.

The winners:
* Best Edited Feature Film (Dramatic): “Captain Phillips,” Christopher Rouse, A.C.E.
* Best Edited Feature Film (Comedy or Musical): “American Hustle,” Jay Cassidy, A.C.E., Crispin Struthers & Alan Baumgarten, A.C.E.
* Best Edited Animated Feature Film: “Frozen,” Jeff Draheim
* Best Edited Documentary (Feature): “20 Feet from Stardom,” Douglas Blush, Kevin Klauber & Jason Zeldes
* Best Edited Documentary (Television): “The Assassination of President Kennedy,” Chris A. Peterson
* Best Edited Half-Hour Series For Television: “The Office”: “Finale,” David Rogers & Claire Scanlon
* Best Edited One-Hour Series For Commercial Television: “Breaking Bad”: “Felina,” Skip MacDonald A.C.E.
* Best Edited One-Hour Series For Non-Commercial Television: “Homeland”: “Big Man in Tehran,” Terry Kelley, A.C.E.
* Best Edited Miniseries or Motion Picture for Television: “Behind the Candelabra,” Mary Ann Bernard
* Best Edited Non-Scripted Series: “Anthony Bourdain: Parts Unknown”: Tokyo, Nick Brigden
* Best Student Editing: Ambar Salinas, Video Symphony

“The Great Gatsby,” “Gravity” and “Her” won the top film awards from the Art Directors Guild on Saturday night, an unsurprising outcome since all three films are among the Oscar nominees in the production-design category. For its Art Directors Guild Excellence in Production Design Awards, the ADG splits its film categories into separate period-film, fantasy-film and contemporary-film categories. “Gatsby” was named tops in the period category, “Gravity” in fantasy and “Her” in contemporary. The results gave Warner Bros. a sweep of the ADG film awards, one night after Sony enjoyed its own two-film sweep at the ACE Eddie Awards, which were held in the same room, the International Ballroom of the Beverly Hilton Hotel. The other two Oscar production-design nominees, “American Hustle” and “12 Years a Slave,” were both nominated by the ADG in the period category.

Over the first 17 years of the ADG Awards, winners went on to take the Oscar for art direction (now renamed production design) 10 times. Since the ADG split its film categories in 2000, all the Oscar winners have come from the guild’s period or fantasy categories. On the television side, “Behind the Candelabra” won yet another TV-movie-or-miniseries award. But “Breaking Bad” had the rare experience of walking away from an awards show empty-handed, as the far more elaborate “Game of Thrones” took the prize for a one-hour single-camera series. “Veep” won a third award for HBO in the half-hour single-camera series category, while “Portlandia” won for a multi-camera, variety or unscripted series. The ceremony was hosted by comedian Owen Benjamin. In honorary awards, Martin Scorsese was presented with the Cinematic Imagery Award, while Rick Carter received the Lifetime Achievement Award. Robert Clatworthy, Harper Goff and J. Michael Riva were inducted into the ADG Hall of Fame.

The winners:
* Period Film: “The Great Gatsby”; Production Designer: Catherine Martin
* Fantasy Film: “Gravity”; Production Designer: Andy Nicholson
* Contemporary Film: “Her”; Production Designer: K.K. Barrett
* One-Hour Single Camera Television Series: “Game of Thrones”; Production Designer: Gemma Jackson; Episode: “Valar Dohaeris”
* Television Movie or Mini-Series: Behind the Candelabra”; Production Designer: Howard Cummings
* Half Hour Single-Camera Television Series: “Veep”; Production Designer: Jim Gloster; Episode: “Helsinki”
* Short Format, Live Action Series: “Battlestar Galactica: Blood and Chrome”; Production Designer: Brian Kane; Episode: Pilot
* Multi-Camera, Variety, or Unscripted Series: “Portlandia”; Production Designer: Tyler Robinson; Episode: “Missionaries”
* Awards, Music, or Game Shows: The 67th Annual Tony Awards; Production Designer: Steve Bass
* Commercial, PSA, Promo, and Music Video: “Call of Duty: Ghosts”; Production Designer: Todd Cherniawsky; Episode: “Epic Night Out”

“12 Years a Slave” has been named the best book-to-screen adaptation of 2013 at the USC Libraries Scripter Awards, giving the late Solomon Northup a Hollywood award more than 150 years after he wrote the chronicle of the dozen years he spent in slavery in the 1840s. The Scripter Award goes both to the writer of the script and to the author of the original work that was adapted, making Northup and screenwriter John Ridley co-winners of the award. “Of all the things I’ve been through with this movie over the past few months, this one might mean the most, because it includes Solomon Northup,” Ridley told TheWrap after the ceremony. Four of Northup’s descendants attended the Scripters and sat with Ridley and his family. “12 Years a Slave” was selected over a field that also included Oscar screenplay nominees “Captain Phillips” and “Philomena,” as well as “The Spectacular Now” and “What Maisie Knew.”

Ridley has long been the odds-on favorite to win the adapted-screenplay Oscar, where he will also be competing against “Before Midnight” and “The Wolf of Wall Street.” The latter film might have been considered a likely Scripter nominee over the little-seen Henry James adaptation “What Maisie Knew.” But it’s easy to imagine the Scripter jury uneasy about handing out a nomination that would in part honor convicted stock swindler Jordan Belfort, who wrote the memoir on which the film is based, and who is played in “Wolf” by Leonardo DiCaprio. The choice was made by a jury chaired by screenwriters Naomi Foner and Howard Rodman, and including authors Michael Chabon and Michael Ondaatje, screenwriters Geoffrey Fletcher, Callie Khouri, Lawrence Kasdan and Stave Zaillian, producers Albert Berger and Gale Anne Hurd, and critics Kenneth Turan and Leonard Maltin.

Past Scripter winners include “Argo,” “The Social Network,” “Slumdog Millionaire,” “No Country for Old Men” and “Children of Men.” Although for most of its first 25 years the Scripters rarely chose the film that would go on to win the Oscar for Best Adapted Screenplay, the Scripter jury has gotten less idiosyncratic and more mainstream in recent years. In five of the last six years, Academy voters and the Scripter jury have agreed. The winner was announced at a black-tie dinner in the Edward L. Doheny Jr. Memorial Library on the USC campus in Los Angeles. Also at the ceremony, screenwriter Robert Towne was given the 2014 USC Libraries Literary Achievement Award for a body of work that has included the screenplays to “Chinatown,” “Shampoo” and “The Last Detail.” Towne currently writes for the TV series “Mad Men.”

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