HOLLYWOOD—Both high-profile and lesser known spots gained recognition at the second annual Association of Independent Creative Editors (AICE) Editing Awards ceremony held this week (11/14) in Hollywood. This mix was reflected on several fronts, including in the work of the two editors who topped the competition with a couple of honors apiece: Hank Corwin of bicoastal Lost Planet; and Tim Cahill of 89 Editorial, New York.
Corwin was honored in the Music/Sound-Driven and National Campaign categories. The latter came on the strength of the FOX Sports Major League Baseball postseason campaign consisting of the spots "Nailgun," "Boat" and "Leafblower." Corwin cut "Nailgun," while Lost Planet’s Paul Martinez edited "Boat" and "Leafblower." The AICE Award is the latest feather in the FOX campaign’s already plume-filled awards cap, which includes a Gold Lion at the Cannes International Advertising Festival and honors at the Association of Independent Commercial Producers (AICP) Show, the Clio Awards, the One Show, the British Design & Art Direction (D&AD) competition and the ANDYs. The FOX fare was directed by Baker Smith of Santa Monica-based Harvest for TBWA/ Chiat /Day, San Francisco.
In the Music/Sound category, Corwin scored with Hewlett Packard’s "Coffee Table," directed by Rupert Sanders of Santa Monica-based Omaha Pictures for Goodby, Silverstein & Partners, San Francisco. "Coffee Table" gained recognition last year as a SHOOT Top Spot (9/28/01, p. 14).
Meanwhile, Cahill’s wins in the Regional Spot and Montage categories were based on his work for the Teachers Insurance & Annuity Association/College Retirement Equities Fund (TIAA/CREF) directed by Tony Kaye of Tony K., Santa Monica, for Ogilvy & Mather, New York. (Kaye now directs via bicoastal Minder.) "Anthem" took the coveted Montage category honor while the other TIAA/CREF spot, "Diane Lewis"—which entailed editing by Cahill of 89 Editorial and Peter Goddard of Poppy Films, London—topped the Regional category. This is the first time that this TIAA/CREF fare was recognized at a major awards competition.
PRIME GOAL
The coming together of well- and not-so-well-known spots in the AICE winners’ circle represents the attainment of a key goal—for the show to be more inclusive of a broader base of work and artists. As earlier reported (SHOOT, 4/28, p. 1) the means toward that end was to establish categories. Last year’s inaugural AICE Editing Awards simply were bestowed upon the 10 best-edited commercials of the year, sans any category breakdown.
Of the decision to form categories in 2002, AICE Editing Awards chairman Arthur Williams, chairman of the board at New York-headquartered Editing Concepts Inc., explained: "We wanted to open up opportunities for the majority of editors to become meaningfully involved. Last year, a lot of them felt they couldn’t compete with the big projects, which by and large wound up winning. Now we have, for example, a Spec category, which can recognize up-and-coming editors, and a Regional category, which also opens up the field to talented editors from different parts of the country. The categories represent a more democratic approach, giving more editors a greater chance to participate."
Continuing in the mix of renown and relatively obscure work, the competition gave us on the latter score Monster.com’s "Prodigy," for which editor Justin Stolo of Red Car Santa Monica topped the Spec category.
At the other end of the spectrum was the Storytelling category winner—Nike’s "Move" edited by Adam Pertofsky of Rock Paper Scissors, Los Angeles. Directed by Jake Scott of bicoastal RSA USA for Wieden+ Kennedy, Portland, Ore., "Move" has been among the year’s most honored spots. In September, it won the primetime Emmy Award as best commercial of the year.
Two other spots nominated for that Emmy also made their mark at the AICE Editing Awards: the aforementioned "Nailgun"; and Computer Associates BrightStor Storage System’s "Amnesia." The "Amnesia" spot topped the AICE Awards’ Comedy category. The ad was edited by David Cornman of The Blue Rock Editing Company, New York. The directing team of LeMoine.Miller of bicoastal/international @radical. media directed
"Amnesia" for Young & Rubicam, New York.
Taking the Visual Effects category was Landrover’s "Orbit," edited by Steve McCorkle of Mad River Post, New York, for agency GSD&M, Austin, Texas. Directed by Eric Saarinen of Santa Monica-based Plum Productions, "Orbit" has also performed well on the awards circuit this year, landing multiple honors at the AICP Show.
Two editors have the distinction of having won at both the inaugural and the second annual AICE Awards: the aforementioned Pertofsky of Rock Paper Scissors; and Adam Liebowitz of Go Robot!, New York. This year, Liebowitz cut IBM’s "Heist," which topped the AICE Awards’ Dialogue category. The spot was helmed by Joe Pytka of Venice, Calif.-based PYTKA for Ogilvy & Mather, New York.
At last year’s AICE Editing Awards, Liebowitz won three statuettes—for American Express’ "Manhattan" and IBM’s "Harlem Fencer" and "Supermarket," all via Ogilvy & Mather, New York. Pertofsky won in ’01 for Nike’s "Freestyle," out of Wieden+Kennedy, Portland.
Editor Chris Hafner of Brass Knuckles, Venice, Calif., rounded out this year’s select field of AICE Awards honorees. He won the Graphics category for Target’s "Symbols: Woman," from agency Peterson Milla Hooks, Minneapolis. The spot was directed by Wayne Isham of A Band Apart, Los Angeles.
HALL OF FAME
The Nov. 14th gala ceremony at The Highlands Restaurant and Nightclub in Hollywood honored not only the AICE Editing Awards recipients but also this year’s AICE Hall of Fame inductee, retired editor Jacques Dury.
After a yearlong hiatus, the AICE Hall of Fame induction honor returned this week. The AICE had decided to table the Hall of Fame proceedings in ’01 in order to focus fully on launching the inaugural AICE Editing Awards. The plan, now realized, was to bring back the Hall of Fame ceremony in tandem with the AICE Editing Awards.
Dury becomes the first Los Angeles-based artisan to earn AICE Hall of Fame lifetime achievement distinction. He won not only for his body of industry-recognized work over the years for assorted clients (i.e., Henry Weinhard, Isuzu, Alka Seltzer, Perrier, American Express, E.F. Hutton, the World Wildlife Fund), but also for helping to spawn the careers of many other artists at Hollywood studios Dury Associates and then its successor company, Decoupage. (A full profile of Dury appeared in last week’s SHOOT Special Supplement on the AICE Awards and Hall of Fame honor.)
Dury joins a celebrated list of Hall of Fame editor inductees from New York. That lineup consists of Jerry Bender, who was inducted in ’94; Edna Paul in ’95; Howie Weisbrot in ’96; John Quinn in ’97; Dennis Hayes in ’98; Bea Conetta Sands in ’99; and David Dee and Jeff Dell in ’00.
RUNDOWN
The following is a category-by-category rundown of this year’s AICE Award-winning commercials, headed by the editing talent behind each piece of work:
Comedy
David Cornman
Computer Associates, "Amnesia" (:30)
The Blue Rock Editing Company, New York. Nicki DiFalco, assistant editor; Kristen McQuillan, producer. Young & Rubicam, New York. Anne Hayden, creative director; Rich Rosenthal, producer; Ahmer Kalam, art director. @radical.media, bicoastal/international. LeMoine.Miller, director; Adam Beckman, DP. Moving Images, New York. Tim Masick, colorist (Masick is now with Company 3, New York). Epoxy Finish, New York. Rich Siciliano, online editor. Sound Lounge, New York. Peter Holcomb, mixer. New York Noise. Stephen Cullo, composer.
Dialogue
Adam Liebowitz
IBM, "Heist" (:60)
Go Robot!, New York. Joe Kriksciun, assistant editor; Alisa Sheinberg, producer. Ogilvy & Mather, New York. Chris Wall, creative director; Lee Weiss, producer; Jeff O’Keefe, copywriter; Jeff Curry, art director. PYTKA, Venice, Calif. Joe Pytka, director/DP. Nice Shoes, New York. Chris Ryan, colorist; Rich Schreck, online editor; Ear to Ear, Santa Monica. Brian Banks, composer.
Graphics
Chris Hafner
Target, "Symbols: Woman" (:30)
Brass Knuckles Editorial, Venice, Calif. Doobie White, assistant editor; Joe DiSanto, producer. Peterson Milla Hooks, Minneapolis. Dave Peterson, creative director; Selannie Tyc, producer; Nate Morley, copywriter; Carl Byrd, art director. A Band Apart, Los Angeles. Wayne Isham, director; Crash, DP. Color correction by Bobine Video, Santa Monica. Graphic design by Fuel. Online by Radium, Santa Monica.
Montage
Tim Cahill
TIAA/CREF, "Anthem" (:60)
89 Editorial, New York. Dayana Placido and Ken Rosenberg, assistant editors; Bob Cagliero, executive producer. Ogilvy & Mather, New York. Michael Ward, creative director; Randall Shreve, executive producer; Michael Ward, creative director/copywriter; Don Creed, associate creative director/art director. Tony K., Santa Monica. Tony Kaye, director/DP. Company 3, New York. Victor Mulholland, colorist. Nice Shoes, New York. Tim Crean, graphic design; John Shea, online editor. Howard Schwartz Recording, New York. Steve Rosen, engineer. Sweet Potato Music, New York. Evren Celimli, composer.
Music/Sound
Hank Corwin
Hewlett-Packard, "Coffee Table" (:30)
Lost Planet, bicoastal. Geoff Hounsell, assistant editor; Susan Grogan, producer; Hank Corwin, sound designer. Goodby, Silverstein & Partners, San Francisco. Steve Simpson, creative director; Tanya Lesieur, producer; Mark Abellera, copywriter; Dan Weeks, art director. Omaha Pictures, Santa Monica. Rupert Sanders, director; Jess Hall, DP. R!OT, Santa Monica. Beau Leon, colorist (Leon is now with The Syndicate, Santa Monica). Sea Level, Venice, Calif. Jim Bohn, online editor. Eleven, Santa Monica. Jeff Payne, mixer.
National Campaign
Hank Corwin, Paul Martinez
FOX Sports, "Boat, "Leaf Blower" and
"Nail Gun" (:30s)
Lost Planet, bicoastal. Hank Corwin, editor, "Nail Gun," Paul Martinez, editor, "Leaf Blower," "Boat"; Jen Dean, assistant editor; Susan Grogan, producer; Paul Martinez, sound designer. TBWA/Chiat/Day, San Francisco. Chuck McBride, creative director; Betsy Beale, producer; Scott Wild, copywriter; Jeff Labbe and Eric King, art directors. Harvest, Santa Monica. Baker Smith, director; John Stanier, DP; Bonnie Goldfarb, executive producer. Company 3, Santa Monica. Steve Rodriguez, colorist. Steele VFX, Santa Monica. Jerry Steele, online editor. Eleven, Santa Monica. Jeff Payne, mixer.
Regional Spot
Tim Cahill (89 Editorial),
Peter Goddard (Poppy Films)
TIAA/CREF, "Diane Lewis" (:60)
89 Editorial, New York. Dayana Placido and Ken Rosenberg, assistant editors; Bob Cagliero, executive producer. Poppy Films, London. Ogilvy & Mather, New York. Michael Ward, creative director; Randall Shreve, executive producer; Michael Ward, copywriter; Don Creed, associate creative director/art director. Tony K., Santa Monica. Tony Kaye, director/ DP. Company 3, New York. Victor Mulholland, colorist. Nice Shoes, New York. Tim Crean, colorist; John Shea, online editor. Howard Schwartz Recording, New York. Steve Rosen, mixer. Music composed by Ben Allison.
Storytelling
Adam Pertofsky
Nike, "Move" (:90)
Rock Paper Scissors, Los Angeles. Valerie Thrasher, assistant editor; Linda Carlson, producer. Wieden+Kennedy, Portland, Ore. Hal Curtis, creative director/art director; Carlos Bayala, creative director; Vic Palumbo, producer; Kash Sree, copywriter (Sree is now with Leo Burnett USA, Chicago). RSA USA, bicoastal. Jake Scott, director; Max Malkin, DP. Company 3, Santa Monica. Stefan Sonnenfeld, colorist. A52, Los Angeles. Patrick Murphy, online editor. RavensWork, Venice, Calif. Robert Feist, mixer. Endless Noise, Los Angeles. Jeff Elmassian, sound designer. Elias Arts, bicoastal. Jonathan Elias, composer.
Spec
Justin Stolo
Monster.com, "Prodigy" (:30)
Red Car, Santa Monica. Gail Butler, producer; Chris Homel, online editor. Company 3, Santa Monica. Rob Sciarratta, colorist. Audio mix and sound design by The Outpost Sound Mixing Co.
Visual Effects
Steve MacCorkle
Land Rover, "Orbit" (:60)
Mad River Post, New York. Inome Callahan, Greg Lane and Pet Tapla, assistant editors; Ann Kirk, producer. GSD&M, Austin, Texas. Jeremy Postaer and David Crawford; Camron Day, creative director/copywriter; Peter Feldman, producer; Lou Flores, art director. Plum Productions, Santa Monica. Eric Saarinen, director/DP. Company 3, Santa Monica. Mike Pethel, colorist. Asylum Visual Effects, Santa Monica. Philip Brennen, online editor. Eleven, Santa Monica. John Bolen, mixer.
