The Unseen Architects: Editors Crowned at the 76th ACE Eddie Awards, Offering Glimpses into Oscar Race
Hollywood’s unsung heroes, the meticulous storytellers who sculpt raw footage into compelling narratives, gathered to celebrate their craft at the 76th American Cinema Editors (ACE) Eddie Awards. Held with much fanfare at UCLA’s Royce Hall, the annual ceremony honored outstanding achievement in film, television, documentaries, shorts, and digital content, casting a crucial spotlight on the art of editing—a discipline often overlooked but undeniably foundational to cinematic excellence. More than just an industry accolade, the ACE Eddie Awards frequently serve as a potent bellwether for the Academy Awards, particularly in the fiercely contested Best Editing category, providing keen insight for Oscar watchers into the unfolding race.
The evening’s top honors in live-action feature films were bestowed upon two distinct yet equally impactful productions. In the intensely competitive Drama category, Michael P. Shawver was recognized for his masterful work on “Sinners,” a film that captivated audiences with its bold vision and innovative storytelling. Shawver, accepting his award, lauded director Ryan Coogler for his audacious creative choices. “Ryan Coogler took a big risk,” Shawver remarked, “and I think gave audiences something that maybe they didn’t even know they were hungry for—something new, different, fun, and a total experience.” His words underscored the editor’s crucial role in realizing a director’s vision, shaping the pacing, emotion, and overall impact that defines a groundbreaking cinematic journey. For a drama, the editor’s hand is paramount in building tension, developing character arcs, and ensuring emotional resonance, making Shawver’s win a testament to his ability to navigate complex narratives and deliver a truly immersive experience.
Shifting gears to the lighter side of cinema, Andy Jurgensen received the award for Best Edited Feature Film (Comedy) for his work on “One Battle After Another.” Editing comedy presents a unique set of challenges, demanding impeccable timing, an acute understanding of rhythm, and the ability to enhance comedic beats through precise cuts and transitions. Jurgensen’s triumph in this category highlights his skill in crafting a laugh-out-loud experience that resonated with critics and audiences alike, demonstrating how the editor’s touch can elevate humor from mere dialogue to a visceral, shared experience.
The predictive power of the ACE Eddie Awards for the Oscars is a topic of considerable interest within the industry. Historically, the winners of the Best Film Drama Editing and Best Film Comedy/Musical Editing categories have gone on to match the Best Editing Oscar victor an impressive 17 times in the past 26 years. This strong correlation speaks volumes about the American Cinema Editors’ discerning eye and the high regard in which their selections are held. Editing, often dubbed the “final rewrite” of a film, is where a movie truly finds its form, pacing, and emotional heartbeat. A brilliant edit can elevate good performances, tighten loose narratives, and transform disparate shots into a cohesive and impactful whole. This makes the ACE Eddies not just a celebration of craft, but a critical precursor to understanding the broader awards landscape, particularly for the Academy’s recognition of cinematic achievement.
The animated feature landscape also saw significant recognition, with “KPop Demon Hunters” taking home the award for Best Edited Animated Feature Film. Nathan Schauf’s victory in this category reflects the growing sophistication and narrative complexity of animated cinema. Editing an animated film requires a distinct skill set, often involving working with storyboards and pre-visualization long before final animation, demanding a keen sense of visual storytelling and an understanding of how to maintain fluidity and excitement in a world constructed frame by frame. The fusion of K-Pop aesthetics with demon hunting suggests a vibrant, dynamic film where the editor’s rhythm and energy would be central to its success.
Documentary filmmaking, a genre reliant on the editor’s ability to shape reality into a compelling narrative, was also honored. “The Perfect Neighbor,” a Netflix documentary, secured the award for Best Edited Documentary Feature, with Viridiana Lieberman recognized for her impactful work. The film’s win is particularly noteworthy as it also garnered an Oscar nomination in the Best Documentary category, further solidifying the ACE Eddies’ role as a significant awards season indicator. Editing a documentary involves not just assembling footage, but discerning the truth, constructing a coherent argument, and crafting an emotional journey from potentially thousands of hours of material. Lieberman’s achievement underscores the critical role of the editor in bringing real-life stories to the screen with integrity and dramatic flair.
On the television front, the awards celebrated the diverse and demanding world of episodic storytelling. Damian Rodriguez received the award for Best Edited Documentary Series for “Pee-wee as Himself – Part One.” In a deeply moving acceptance speech, Rodriguez dedicated his win to his team and the late Paul Reubens, the iconic creator and performer behind Pee-wee Herman. “We wouldn’t be here without him,” Rodriguez shared, his voice tinged with emotion. “He was such an amazing artist, and he influenced so many people, including myself. I wish he was here.” This poignant tribute highlighted the enduring legacy of Reubens and the profound impact artists have on their colleagues and the broader cultural landscape, reminding everyone of the human stories behind the screen. Editing a biographical documentary series like this requires immense sensitivity and skill, weaving together archival footage, interviews, and narrative threads to paint a comprehensive and respectful portrait of a beloved, complex figure.
The episodic nature of television presents its own unique editing challenges, and “The Studio” and “The Pitt” were lauded for their exceptional work in their respective categories. Eric Kissack, ACE, won Best Edited Single Camera Comedy Series for “The Studio” (The Promotion episode), demonstrating the precision and comedic timing required to elevate humor in a single-camera format. Meanwhile, Mark Strand, ACE, was honored for Best Edited Drama Series for “The Pitt” (6pm episode), a testament to the editor’s ability to maintain narrative tension, character development, and a compelling pace across an unfolding dramatic arc. These wins underscore the vital role editors play in crafting the serialized storytelling that defines modern television, where each episode must stand alone while contributing to a larger narrative tapestry.
The awards also recognized the powerful medium of short films. Erin Casper, ACE, Stephen Maing, and Jeremy Medoff received the award for Best Edited Short for “All The Empty Rooms.” This profoundly moving film delves into the bedrooms of children killed in U.S. school shootings, offering an intimate and heartbreaking look at lives tragically cut short. Casper dedicated the win to the victims and their families, acknowledging their immense courage. “who opened their doors to us and welcomed us into their sacred spaces of their child’s bedroom preserved just as it was since the last day they saw their child alive,” she shared. The film’s intentional decision to never mention the word “gun” was a conscious choice to bypass the desensitization many feel towards the epidemic of gun violence. “We’ve all grown so numb to this epidemic,” Casper stated, emphasizing their goal to “center the humanity and the life that was in these rooms.” This powerful approach, made possible through careful and empathetic editing, allowed the film to connect with audiences on a deeply human level, transcending political discourse to focus on profound loss and remembrance.
Animation’s impact extended to the small screen with “South Park’s” “Twisted Christian” episode, which earned David List and Nate Pellettieri the award for Best Edited Animated Series. Accepting the award, editor David List praised the show’s creators. “It was especially gratifying to work on these last 10 episodes because Trey and Matt really, really went for it,” he said, referring to Trey Parker and Matt Stone. “They challenged the boundaries of censorship and how far all of us can exercise our First Amendment rights, whether it’s political commentary, mocking celebrity or that expertly timed fart joke.” List’s comments highlighted the series’ enduring commitment to satire and social commentary, and he added a broader reflection on the importance of free speech: “Our freedom of speech should ultimately be protected and celebrated regardless of political party affiliation.” This win celebrates the intricate comedic timing and narrative agility required to edit a show renowned for its rapid-fire cultural critiques and provocative humor.
Beyond the competitive categories, the ACE Eddie Awards also recognized individuals whose careers have left an indelible mark on the industry. The esteemed Ang Lee, a two-time Academy Award-winning director, was presented with the ACE Golden Eddie Filmmaker of the Year Award. Known for his visually stunning and emotionally resonant films like “Crouching Tiger, Hidden Dragon,” “Brokeback Mountain,” and “Life of Pi,” Lee is a director who profoundly understands the power of post-production. In a heartfelt acceptance, Lee dedicated his award to his long-time collaborator and “go-to editor,” Tim Squyres. “When you give me this award, you actually give me it to Tim Squyres,” Lee humbly declared. He recounted their decades-long partnership, revealing that Squyres had cut nearly all his movies, with “Brokeback Mountain” being a rare exception. “He missed that one because I told him, after ‘Crouching Tiger, Hidden Dragon,’ I’m retiring, I said ‘I had enough.’ So he took another movie,” Lee shared with a chuckle, illustrating the deep personal and professional bond forged over 35 years of collaboration. This anecdote perfectly encapsulated the symbiotic relationship between director and editor, where trust, understanding, and shared vision are paramount.
Lee offered a profound insight into his creative process, using a culinary metaphor to describe the essence of editing. “It’s very hard to say, but let me put this way, my wife said, I can only do two things, right, making movies and cooking. So let me use cooking as a metaphor. Shooting is like buying groceries, and the real cooking is on the editing table. That’s how I feel about editing.” This vivid analogy illuminated the transformative power of editing, where raw materials are meticulously prepared, seasoned, and artfully combined to create a cohesive and satisfying experience. He elaborated on how editing is central to his consciousness throughout the entire filmmaking process. “I’ve feel I have this editing machine in my head when I’m making movies, every section, every setup, editing is at the center of my consciousness. Every working day I have to answer, hundreds of questions about what I want. The only reason I can give directions and put the whole movie together is because I have that editing table in my head.” Lee’s words served as a powerful reminder that editing is not merely a post-production task but an intrinsic part of a director’s artistic vision from conception to completion. He concluded with an optimistic, yet realistic, outlook on the future of cinema: “We’re in a particularly difficult moment, challenging moment, in our life of cinema. But I do believe, as long as there is as long as there are moving images, there will be editors.” His sentiment resonated deeply, affirming the enduring relevance of the editor’s craft in an ever-evolving media landscape.
Further recognizing pivotal contributions to the industry, Kim Larson & YouTube Will were honored with the ACE Visionary Award, celebrating their innovative approaches and forward-thinking impact on the editing world. Additionally, Film Editors Arthur Forney, ACE, and Robert Leighton were bestowed with ACE Career Achievement Awards, acknowledging their extensive and distinguished careers that have shaped countless cinematic and televisual works over decades.
The American Cinema Editors also celebrated emerging talent, awarding the Anne V. Coates Award for Student Editing to Luis Barragan from California State University, Fullerton, highlighting the future generation of skilled storytellers. The ceremony ultimately served as a vital reminder that filmmaking is a collaborative art form, where the editor, often working quietly behind the scenes, is a pivotal figure in shaping the stories that captivate and move us. From the subtle nuances of a dramatic performance to the precise rhythm of a comedic beat, the editor’s craft is an indispensable ingredient in the magic of cinema and television, ensuring that every frame contributes meaningfully to the final, unforgettable experience.
Here is the full list of the evening’s distinguished winners:
EDITED FEATURE FILM (Drama, Theatrical)
“Sinners”
Michael P. Shawver
BEST EDITED FEATURE FILM (Comedy, Theatrical)
“One Battle After Another”
Andy Jurgensen
BEST EDITED ANIMATED FEATURE FILM
“KPop Demon Hunters”
Nathan Schauf
BEST EDITED DOCUMENTARY FEATURE
“The Perfect Neighbor”
Viridiana Lieberman
BEST EDITED DOCUMENTARY SERIES
“Pee-wee as Himself – Part One”
Damian Rodriguez
BEST EDITED MULTI-CAMERA COMEDY SERIES
“Frasier” (Murder Most Finch)
Russell Griffin, ACE
BEST EDITED SINGLE CAMERA COMEDY SERIES
“The Studio” (The Promotion)
Eric Kissack, ACE
BEST EDITED DRAMA SERIES
“The Pitt” (6pm)
Mark Strand, ACE
BEST EDITED FEATURE FILM (NON-THEATRICAL)
“A Winter’s Song”
Yvette M. Amirian, ACE
BEST EDITED LIMITED SERIES
“The Penguin” (A Great or Little Thing)
Henk van Eeghen, ACE
BEST EDITED REALITY SERIES
“Conan O’Brien Must Go” (Austria)
Matthew Shaw, ACE
Brad Roelandt
BEST EDITED VARIETY TALK/SKETCH SHOW OR SPECIAL
“Saturday Night Live 50th Anniversary Special”
Paul Del Gesso
Christopher Salerno
Ryan Spears
Sean Mcilraith, ACE
Ryan Mcilraith
Daniel Garcia
BEST EDITED ANIMATED SERIES
“South Park” (Twisted Christian)
David List
Nate Pellettieri
BEST EDITED SHORT
“All The Empty Rooms”
Erin Casper, ACE
Stephen Maing
Jeremy Medoff
ANNE V. COATES AWARD FOR STUDENT EDITING
Luis Barragan – California State University, Fullerton
