Assistant editor Sandy Coles of Toronto editorial house Relish Editing was the Grand Prize winner at the 2010 AICE Camp Kuleshov Toronto trailer editing competition. His winning entry, “Braveheart: Party in the Highlands,” met the brief of the competition, which was to cut a trailer for a well-known Hollywood drama, horror or suspense film which promotes the picture as a comedy.
For his creative editorial efforts, Coles received a cash prize of $1,000, which was presented at the Camp Kuleshov awards event held on November 23 at the Cadillac Lounge in Toronto.
Coles’ version of Braveheart envisions its hero, Billy Wallace (played by Mel Gibson), as the leader of history’s first gay pride parade. With a deft mix of comic timing, a great soundtrack of classic and contemporary pop tunes and a joke-filled voiceover narration, the trailer turns the movie into something more akin to American Pie than an historical epic.
Taking honorable mention in the AICE Toronto competition were entries from assistants at School, Rooster Post Production, and Panic & Bob. Assistant editor Kyle McNair of School won for his comic take on Deliverance, which he imagines as the story of four guys going on a zany canoe trip. Also earning honorable mention was assistant editor Even Salusbury of Rooster Post Production for Amadeus, which he re-engineered as a buddy/road movie about two crazy musicians from Vienna who just happen to be Wolfgang Amadeus Mozart and Antonio Salieri. The final honorable mention slot was grabbed by assistant editor David James Findlay of Panic & Bob for his finger-snapping take on David Lean’s classic The Bridge on the River Kwai, which he turned into “POW Camp Musical,” a parody of the Disney High School Musical franchise.
To view the 2010 Camp Kuleshov Toronto winners, click here.
The competition judges included editors Jason Grebski of Rooster Post Production, Peter McAuley of axyz, Greg Edgar of Stealing Time, Chris Murphy of Relish Editing, Grant Pye of Rogue Editorial, Jackie Roda of School, Stephen Sora of Posterboy and John Evans of Panic & Bob, along with Mary Beth Odell, president/executive producer of Adaptable. The judging session was hosted by Notch, a commercial color correction boutique in Toronto.
Oscar Nominees Delve Into The Art Of Editing At ACE Session
You couldn’t miss Sean Baker at this past Sunday’s Oscar ceremony where he won for Best Picture, Directing, Original Screenplay and Editing on the strength of Anora. However, earlier that weekend he was in transit from the Cesar Awards in Paris and thus couldn’t attend the American Cinema Editors (ACE) 25th annual panel of Academy Award-nominated film editors held at the Regal LA Live Auditorium on Saturday (3/1) in Los Angeles. While the eventual Oscar winner in the editing category was missed by those who turned out for the ACE “Invisible Art, Visible Artists” session, three of Baker’s fellow nominees were on hand--Dávid Jancsó, HSE for The Brutalist; Nick Emerson for Conclave; and Myron Kerstein, ACE for Wicked. Additionally, Juliette Welfling, who couldn’t appear in person due to the Cesar Awards, was present via an earlier recorded video interview to discuss her work on Emilia Pérez. The interview was conducted by ACE president and editor Sabrina Plisco, ACE who also moderated the live panel discussion. Kerstein said that he was the beneficiary of brilliant and generous collaborators, citing, among others, director Jon M. Chu, cinematographer Alice Brooks, and visual effects supervisor Pablo Helman. The editor added it always helps to have stellar acting performances, noting that hearing Cynthia Erivo, for example, sing live was a revelation. Kerstein recalled meeting Chu some eight years ago on a “blind Skype date” and it was an instant “bromance”--which began on Crazy Rich Asians, and then continued on such projects as the streaming series Home Before Dark and the feature In The Heights. Kerstein observed that Chu is expert in providing collaborators with... Read More