Editors Angus Wall and Terence “Biff” Butler of Rock Paper Scissors (RPS), Santa Monica, and Maury Loeb of P.S. 260, New York, were the big individual winners, each garnering a pair of honors during the eighth annual Association of Independent Creative Editors (AICE) Awards Show gala held on Wednesday (5/20) at The Beverly Hills Hotel. The competition honors the art and craft of editing.
Wall and Butler teamed to take the National Campaign category for the Nike Training commercials “Fast Forward,” “Manny” and “Maria” directed by Malcolm Venville of bicoastal Anonymous Content for Wieden+Kennedy, Portland, Ore. (Wall additionally served as colorist on the package.)
Another Nike job, the spot “Fate” directed by David Fincher via Anonymous Content for Wieden+Kennedy, also scored Wall an editing win in the AICE Storytelling category.
And Butler’s second honor came in the Best of Los Angeles category for the Will.i.am “Yes We Can” viral, nearly four-and-a-half minutes in length, on behalf of Barack Obama’s presidential campaign.
Loeb’s cutting of the Hummer H3T commercial entitled “The Open” earned wins in both the Music/Sound (Amber Music, N.Y.) and Best of New York categories. “The Open” was directed by Steve Rogers of Biscuit Filmworks, L..A., for Modernista!, Boston.
RPS and School, Toronto, tied for the lead in the edit company derby, taking three categories apiece.
Mark Morton of School cut Parkinson Society Canada’s “Struggle” which won in the Public Service category. “Struggle” was directed by Mark Zibert of Sons and Daughters, Toronto, for Taxi 2, Toronto. (Zibert earned inclusion into SHOOT’s New Directors Showcase in part due to this spot. See separate Showcase coverage in this issue.)
Editor Griff Henderson scored the Best of Toronto honor for Corby Distilleries Wiser’s “New Shirt” directed by Craig Brownrigg of Radke Film Group, Toronto, for John St., Toronto.
And rounding out School’s trio of wins was editor Aaron Dark in the Under $50,000 category for Toronto International Film Festival/Cadillac’s “Scream,” also helmed by Brownrigg, for Toronto’s McLaren McCann.
The only other edit shop with more than one AICE Award honor was The Whitehouse. Editor Christophe Williams of The Whitehouse, London, topped the Visual Effects category for Toshiba’s “Time Sculpture” directed by Mitch Stratten of bicoastal/international Hungry Man for Grey, London. (Stratten is also in SHOOT’s 2009 New Directors Showcase.)
And The Whitehouse, Chicago, earned distinction in the AICE Best of Chicago category for Bud Light’s “Deli” cut by Carlos Lowenstein. The spot was directed by Erich Joiner from bicoastal Tool of North America for DDB Chicago.
Filmcore, with shops in New York, Chicago, Detroit, Santa Monica and San Francisco, scored a win and was indirectly linked to another. The outright honor was in the Music Video category for Filmcore Santa Monica editor Livio Sanchez’s work on Gnarls Barkley’s “Who’s Gonna Save My Soul” directed by Chris Milk of bicoastal/international @radical.media for Atlantic Records/Downtown.
Meanwhile editor Derek Swanson (who’s now with Filmcore Detroit) won the Best of Detroit category for the Ad Council PSA “Cheerleader” directed by Vance Malone via bicoastal/international Hungry Man (Malone is now with bicoastal/international Station Film) for Campbell-Ewald, Detroit. Swanson edited the spot when he was with the since closed Mad River Post.
Another editor to move was Kim Bica who while at bicoastal Lost Planet cut NBA’s “Win” directed by Dayton/Faris of Bob Industries for Goodby, Silverstein & Partners, San Francisco. “Win” won the AICE Dialogue category. Bica has since departed Lost Planet and joined Arcade, L.A.
Topping the Comedy category was Chris Franklin of Big Sky Editorial, N.Y., for his work on Planters Peanuts’ “Perfume” directed by Hungry Man’s Bryan Buckley for Draftfcb, N.Y..
Gary Knight of Peepshow, N.Y., topped the Montage category for adidas Original’s “House Party” directed by Nima Nourizadeh of Partizan for Sid Lee, Montreal.
Neil Gust of Outside Editorial, N.Y., topped the New/Emerging/Alternative Media category for Jaguar’s “XKR-S” directed by Peter Lang of Pictures In A Row, Hollywood, Calif., for Euro RSCG, New York.
Pictures In A Row also figured in the Spec Spot category win with Joe Remerowski and Charles Son serving as editors on Frito-Lay’s “Doritos Guy” directed by Son. Pictures In A Row served as production house and agency on the spec piece, with Remerowski and Son editing via the company.
Best of… Rounding out the competition were the remaining winners in the Best of regional categories. Editor Peter Barstis of Editbar, Boston, took Best of Boston honors for Blue Cross/Blue Shield of Massachusetts’ “BCBS-Daniel Spirer” directed by Jonathan Bekemeier of Picture Park, Boston, for PARTNERS+simons, Boston.
Editor Gigi Cone Welch of Fast Cuts Edits, Dallas, took Best of Dallas for Nationwide Insurance’s “Lightning” helmed by Diego Kaplan of America Filmworks, Miami, for Dieste, Dallas.
Lindy Wilson of Fischer Edit, Minneapolis, edited the Best of Minneapolis winner, Washington Lottery’s “Birds” directed by Jerry Brown of Sticks+Stones Studios, Los Angeles, for Publicis in the West, Seattle.
And topping the Best of San Francisco category was editor Kelly Vander Linda of Collective, Seattle, for T-Mobile’s “Fine Print” directed by The Perlorian Brothers of Furlined for Publicis in the West, Seattle.
Hall of Fame Another prime highlight of the AICE Awards proceedings was the induction of Fred Heinrich into the AICE Hall of Fame. Heinrich earned the honor on the strength of his prowess as an editor and for co-founding Inner-City Filmmakers. (See SHOOT‘s 5/22 spot.com.mentary column for more on Heinrich, the Hall of Fame and Inner-City Filmmakers. For more detailed credits on the AICE Awards Show winners, log onto www.aice.org.)
