The fourth AICE (Association of Independent Creative Editors) Awards were fairly evenly distributed among some of today’s top editorial talent Tuesday night (5/24) during a ceremony and celebration at Chelsea Piers in New York. Editor Chris Franklin, principal in Manhattan-based Big Sky Editorial, was the evening’s only multiple winner, coming out on top with two trophies.
Additionally, AICE presented its Hall of Fame Award to one of its pioneers: Arthur Williams, co-founder and partner in now-closed The Tapehouse family of companies, a major postproduction industry influence for three decades. (The Tapehouse shops included The Tape House, Editing Concepts and Tape House Digital/Black Logic.) Williams was also an active AICE member, and is a past New York chapter president.
The awards for Franklin–who also won a pair of AICE Awards last year for dialogue (Miramax’s “Announcer”) and national campaign (Food Network)–came in the categories of best editing for comedy and for music, both on the strength of work that he cut for Discovery Channel, directed by Jim Jenkins of bicoastal/international Hungry Man. Agency was Nicebigbrain, New York, for which Jenkins served as creative director. The comedy award went to a :30 titled “Milk Truck” and the music win was for a :60 titled “Antlers”.
“Milk Truck” features a woman who correctly predicts that a tanker truck filled with milk will crash, and attract a ton of cats. “Antlers” shows a guy in a city populated by people who have antlers–he went back in time–and somehow altered the evolutionary course of humanity. Both spots end with the tagline “Know more than you should.” At Big Sky, Miky Wolf assisted Franklin on both spots, and Cheryl Panek executive produced.
The eight remaining categories brought wins to: Adam Liebowitz of New York-based Go Robot!, Sam Welsh of New York-based Homestead Editorial; Hal Honigsberg from L.A.–based Chrome, Vito DeSario of New York-based Version2; Mark Goodman of Santa Monica-based Terminal; Angus Wall of Los Angeles-based Rock Paper Scissors; Maury Loeb of New York-based P.S. 260; and Hank Corwin and Paul Martinez, both of bicoastal Lost Planet.
This year Liebowitz, who was the big winner with three trophies at the premiere AICE Awards, collected the award for dialogue editing for “Off Meeting,”a :30 for IBM and Ogilvy & Mather, New York. Joe Pytka of Venice, Calif.-based PYTKA directed and DPed. At Go Robot!, Jason Kileen assisted, and the spot was executive produced by Alisa Sheinberg and Jonlyn Williams.
Last year’s top winner with three AICE Awards, Corwin, was honored this time around in the montage category with American Express’ “Robert DeNiro” from Ogilvy & Mather, New York. The spot was directed by Martin Scorsese and Robert Richardson, ASC (who also served as DP) via bicoastal Tool of North America. At Lost Planet, Corwin’s team included assistant editor Jennifer Dean, executive producer Betsy Beale and producer Carol Lynn Weaver.
Martinez topped the graphics category for “Raining Bullseyes,” a :30 for Target from Peterson Milla Hooks, Minneapolis. Matt Badger of bicoastal Epoch Films directed. At Lost Planet, John Mailloux assisted on the edit, which was executive produced by Betsy Beale and produced by Carol Lynn Weaver. (Mailloux has since become an editor at Cutters, Venice, Calif.; SHOOT, 5/13, p. 7.)
The honor for best edited local spot went to Welch for Coinstar’s :60 “Inspired Coins,” from Publicis Seattle. Homestead’s Lance Doty executive produced the editorial; Pes of New York/international Czar Films directed.
Honigsberg was recognized for editing of a national campaign–for Hewlett Packard’s “Picture Book.” “Francois,” and “Relay”. The campaign was created by Goodby, Silverstein & Partners in San Francisco, and directed by Frances Vogel of bicoastal Paranoid Projects @ Tool of North America. Chrome credits included assistant editors Vince Oresman and Niklas Nyberg, executive producer Deanne Mehling and producer Christina Matracia.
De Sario was honored in the public service category for “Rewind,” a :30 for the Office of National Drug Control Policy developed by Foote, Cone & Belding, New York. Doug Nichol of bicoastal/international Partizan directed. At Version2, the team included assistant editor Micah Scarpelli and executive producer Linda Rafoss.
Goodman topped the spec spot category for “Little Busey,” a :60 directed by Tom DeCerchio of Los Angeles-based Incubator Films. Paul Plew assisted Goodman; and Terminal’s Michael Gresch executive produced.
Wall was recognized in the storytelling category for “Magnet,” a :90 for Nike from Wieden + Kennedy, Portland, Ore.; it was directed by Jake Scott of bicoastal RSA USA and London-based RSA Films.
Loeb, whose team at P.S. 260 included assistant editor Sarra Idris and executive producer Michelle Thibeault, was awarded a trophy in the visual effects category for “Unstoppable,” a :60 for Adidas from TBWA/Chiat Day, San Francisco; Brian Beletic of Smuggler in Los Angeles directed.
All AICE Award entries will be archived at the Museum of Television and Radio, New York and Los Angeles.
