Editor Chris Franklin of Big Sky, New York, topped the field with four finalists in the 2005 Association of Independent Creative Editors (AICE) Awards competition. Next up with three nominations was Paul Martinez of bicoastal Lost Planet. Garnering two noms apiece were: Vito DeSario of Version2. Editing, New York, Maury Loeb of PS 260, New York, Jim Ulbrich of 89 Editorial, New York (he recently shifted over to the New York office of Mad River Post), and Angus Wall of Rock Paper Scissors, Los Angeles.
A blue-ribbon panel of judges will review the finalist spots and select the winner in each category. The blue-ribbon body consists of judges from the editorial, directorial and ad agency communities. The competition’s 11editing categories are: Comedy, Dialogue, Graphics, Local Spot, Montage, Music/Sound, PSA, Storytelling, Spec Spot, Visual Effects, and National Campaign.
AICE Award winners will be announced at the AICE Awards and Hall of Fame gala on May 24 at Chelsea Piers in New York. AICE New York chapter president Bernadette Quinn, general manager of Moondog, New York, is the ’05 AICE Awards chairperson.
From a historical perspective, two nominations bestowed upon Toronto house Panic & Bob Editing loom as notable, underscoring that for the first time in its history, the AICE competition extends beyond U.S. editorial companies. As in years past, only editors from AICE shops are considered for awards recognition. However, with the recent formation of an AICE chapter in Toronto (SHOOT, 10/22/04, p. 1), this means that entries from Canadian shops have now become eligible for the AICE Awards. The Toronto chapter is the AICE’s first chapter outside the U.S.
For Panic & Bob, the nominated editors were Matthew Kett and Brian Williams. Kett was nominated in the music/sound category for Country Music Television’s “Dueling Sitars” directed by Michael Downing of Radke Films, Toronto, via agency Zig, Toronto. (Downing directs in the U.S. via harvest, Santa Monica.) Williams’ nomination came in the local spot category for Elections Ontario’s “Office” directed by Tim Godsall of Untitled for DDB Canada. (Godsall’s stateside home is Biscuit Filmworks, Los Angeles.)
FRANKLIN, MARTINEZ
Big Sky’s Franklin garnered finalist recognition in the national campaign, comedy and music/sound categories. His national campaign finalist was Discovery Channel’s “Milk Truck,” “Antlers” and “Transporter,” directed by Jim Jenkins of bicoastal/international Hungry Man for agency nicebigbrain, New York. “Milk Truck” was the comedy finalist. And Franklin registered two music/sound nominations: American Express’ “Sherpa” helmed by Don King of Bam Man, New York, for Ogilvy & Mather, New York; and Discovery Channel’s “Antlers” helmed by Jenkins for nicebigbrain.
Lost Planet’s Martinez received nominations in the comedy, graphics and visual categories. The comedy nominee was Altoid’s “Hair” directed by Douglas Avery of bicoastal Villains for Leo Burnett USA, Chicago. The graphics finalist was Target’s “Raining Bullseyes” helmed by Matt Badger via bicoastal Epoch Films for Peterson Milla Hooks, Minneapolis. And the effects finalist was the U.S. Air Force’s “Tornado” directed by Baker Smith of harvest for GSD&M, Austin, Texas.
Version2’s DeSario garnered two nominations in the public service category for work on behalf of the Office of National Drug Control Policy, directed by Doug Nichol of bicoastal/international Partizan via Foote, Cone & Belding, New York. The spots were “Slam” and “Rewind.”
The pair of nominations for PS 260’s Loeb came on the strength of a single spot, adidas’ “Unstoppable” directed by Brian Beletic of bicoastal Smuggler for TBWA/Chiat/Day, San Francisco. “Unstoppable” was a nominee in both the graphics and visual effects categories.
Ulbrich scored a couple of finalists, all for work done while he was with 89 Editorial. One in the national campaign category for Coca-Cola’s “Summer Games” series of spots–“Stories,” “Pete” and “Hired & Fired”–directed by Vogel.Villar-Rios of bicoastal/international Believe Media, out of Berlin, Cameron & Partners, New York. “Stories” was also nominated in the storytelling category.
And rounding out the list of editors with two nominations was Rock Paper Scissors’ Wall who gained recognition in the storytelling and visual effects categories. The latter was for Hewlett Packard’s “Constant Change” directed by David Fincher of bicoastal Anonymous Content for Goodby Silverstein & Partners, San Francisco. The storytelling nominee was Nike’s “Magnet” helmed by Jake Scott of bicoastal RSA USA for Wieden+Kennedy, Portland, Ore.
Receiving single nominations were editors Hank Corwin of Lost Planet, Jeff Doe of Brass Knuckles, Venice, Calif., Sherri Margulies of Crew Cuts, New York, JJ Lask of PS 260, Terry Kaney of Avenue, Chicago, Adam Liebowitz of Go Robot!, New York, Chris Hellman of Homestead Editorial, New York, Sam Welch of Homestead, Kelly Vander Linda of Slice Editorial, Seattle, Michael Saia of Jump, New York, Hal Honigsberg of Chrome, Santa Monica, Tom Scherma of bicoastal Cosmo Street, Steve Prestemon of Cosmo Street, Jack Douglas of Cosmo Street, Mark Goodman of Terminal, Santa Monica, and Richard Orrick of The Whitehouse, Santa Monica, Chicago, New York and London.
This is the fourth AICE Awards Show–the inaugural event took place in New York in ’01 and then shifted to Los Angeles in ’02. Those first two shows took place during the last quarter of the year, a schedule that meant that the awards honored editing on spots that debuted during a July through June eligibility period. Rather than hold a November ’03 awards ceremony, AICE officials opted to push back the event some six months so that the competition could be positioned from ’05 on to recognize the best-edited work of the previous calendar year. The ’04 Show covered an 18-month eligibility period (July 1,’02-Dec. 31, ’03) to account for the event’s altered schedule.
HALL OF FAME
The AICE Hall of Fame honor was launched in ’94 and held annually until ’01, when the AICE decided to give it a one-year hiatus in order to focus on establishing the AICE Awards competition. The Hall of Fame induction then returned in ’02 (the honoree being editor Jacques Dury) and continues to be coupled with the annual awards gala.
This year’s inductee is a man who inspired the creation of the AICE Hall of Fame: Arthur Williams, whose career spanned more than four decades and involved cutting classic advertising (“I’d Like To Buy The World A Coke”), pioneering new technologies (HD post workflows), founding one of the industry’s most influential post houses (The Tapehouse, New York, which has since closed) and working for the good of the overall editorial community as an AICE leader.
On the latter score, Williams served as AICE New York president from ’90 to ’92 and spent more than a decade on the organization’s board of directors. He chaired the first AICE Hall of Fame Event in ’94 and the first AICE Awards in ’01, which was paired with the Hall of Fame ceremony.
A complete list of ’05 AICE Award finalists across all 11 categories follows.
COMEDY
Altoids’ “Hair” (:30)
Lost Planet, bicoastal
Paul Martinez, editor; John Mailloux, assistant editor; Betsy Beale, executive producer; Carol Lynn Weaver, producer.
Agency: Leo Burnett USA, Chicago
David Moore, producer; Noel Haan, art director; Andrew Meyer, copywriter.
Production Company: Villains, Beverly Hills, Calif.
Douglas Avery, director; Robin Benson, Richard Goldstein, executive producers.
Dairy Queen’s “Mannequin Arm” (:45)
Crew Cuts, New York
Editor: Sherri Margulies; Jake Jacobsen, Matt Shapiro, Kelly Brickner, assistant editors; Nancy Shames, executive producer.
Agency: Grey Worldwide, New York
Jonathan Rodgers, creative director; Steve Krauss, art director; Ari Halper, copywriter; Diana Gay, producer.
Production Company: harvest, Santa Monica
Baker Smith, director; John Schwartzman, DP.
Discovery Channel’s “Milk Truck” (:30)
Big Sky Editorial, New York
Chris Franklin, editor; Miky Wolf, assistant; Cheryl Panek, executive producer.
Agency: nicebigbrain, New York
Jim Jenkins, creative director; Jim Larmon, art director; Kenny Herzog, copywriter; Ralph Laucella, producer.
Production Company: Hungry Man, bicoastal/international
Jim Jenkins, director.
DIALOGUE
CNN.com’s “Weather” (:30)
PS 260, New York
JJ Lask, editor; Robert Ryang, assistant editor; Michelle Thibeault, executive producer.
Agency: The Brooklyn Brothers.
Brendan Gibbons, creative director/copywriter.
Production Company: Hungry Man.
Brendan Gibbons, director; Carl Nilsson, DP; Tom Rossano, executive producer. Lalou Dammond, producer.
Hallmark’s “Warren” (2 min.)
Avenue, Chicago
Terry Kaney, editor; Eric Fey, assistant editor; Mary Caddy Riege, executive producer.
Agency: Leo Burnett USA, Chicago.
Cheryl Berman, creative director; Bob Harley, producer.
Production Company: GARTNER, Santa Monica
James Gartner, director
IBM’s “Off-Meeting” (:30)
Go Robot, New York
Adam Liebowitz, editor; Jason Kileen, assistant editor; Alisa Sheinberg, Jonlyn Williams, executive producers.
Agency: Ogilvy & Mather, New York.
Chris Wall, creative director; Jeff Curry, art director; Lee Weiss, producer.
Production Company: PYTKA, Venice, Calif.
Joe Pytka, director/DP
GRAPHICS
Coca-Cola’s “Move” (:60)
Brass Knuckles Editorial, Venice, Calif.
Jeff Doe, editor; Kristin McCasey, assistant editor; Joe DiSanto, executive producer.
Agency: Draft Worldwide, New York
Robin Blitzblum, creative director; Annabel van Ditmar, producer.
Production Company: The Ebeling Group, Playa del Rey, Calif.
Caskey Ebeling, director; Shaun Lawless, DP; Moody Glasgow, Sue Lee, co-producers.
Nike’s “Serena Williams” (:45)
Homestead Editorial, New York
Chris Hellman, editor/sound designer/audio mixer; Cameron Kelly, assistant editor; Lance Doty, executive producer; Elizabeth Fitzpatrick, producer.
Agency: Ceft & Company, NY
Ucef Hanjani, creative director
Graphics & Effects: Fuel, Santa Monica
Graphic Creative Director: Justin Leibow, graphics creative director; Janet Arlotta, executive producer; Lee Groome, producer.
Target’s “Raining Bullseyes” (:30)
Lost Planet
Paul Martinez, editor; John Mailloux, assistant editor; Betsy Beale, executive producer.
Agency: Peterson Milla Hooks , Minneapolis
Dave Peterson, creative director; Nate Morley, copywriter; Gary Tasson, executive producer.
Production Company: Epoch Films, bicoastal
Matt Badger, director
LOCAL SPOT
Coinstar’s “Inspired Coins” (:60)
Homestead Editorial
Sam Welch, editor; Lance Doty, executive producer.
Agency: Publicis Seattle
Adam Oliver, producer.
Production Company: Czar, New York
Pes, director
Elections Ontario’s “Office” (:30)
Panic & Bob Editing, Toronto
Brian Williams, editor; Naveen Srivastava, assistant editor; Sam McLaren, executive producer.
Agency: DDB Canada
Agency Creative Director: Neil McOstrich, creative director; Marketa Krivy, art director; Ben Weinberg, copywriter; Andrew Schulze, Shenny Jaffer, Tom Evelyn, producers.
Production Company: Untitled Films, Toronto
Tim Godsall, director; Andre Pienaar, DP.
Seattle International Film Festival’s “Samurai Trailer” (:60)
Slice Editorial, Seattle
Kelly Vander Linda, editor; Dan Mullins, assistant editor; Molly Woodruff, executive producer.
Agency: WongDoody, Seattle
Tracy Wong, creative director; Pam Fujimoto, art director; Jonathan Ozer, copywriter; Dax Estorninos, producer.
Production Company: Alarming Pictures, Seattle
Jack and Carol Hodge, directors; Bruce Donelan, DP.
MONTAGE
Adidas’ “Unstoppable”
P.S. 260
Maury Loeb, editor; Sarra Idris, assistant editor; Michelle Thibeault, executive producer.
Agency: TBWA/Chiat Day San Francisco
Chuck McBride, creative director; Scott Duchon, art director; Geoff Edwards, copywriter; Jennifer Golub, producer.
Production Company: Smuggler, bicoastal
Brian Beletic, director; Jeff Cronenweth, DP.
American Express’ “Robert DeNiro” (:90)
Lost Planet
Hank Corwin, editor; Jennifer Dean, assistant editor; Betsy Beale, executive producer; Carol Lynn Weaver, producer.
Agency: Ogilvy & Mather/NY
David Apicella, Chris Mitton, John Liegey, creative directors; Alice Mintzer, executive producer.
Production Company: Tool of North America, bicoastal
Martin Scorsese, director; Bob Richardson, DP; Jennifer Siegel, executive producer.
Coca-Cola’s “Until Now” (:60)
Jump, New York.
Michael Saia, editor; Daniel Lin, assistant editor; Dee Tagert, executive producer.
Agency: Berlin Cameron/Red Cell, New York.
Jason Peterson, art director; Dane Johnson, copywriter; Peter Feldman, producer.
Production Company: Epoch Films, bicoastal
Jeff Preiss, director
MUSIC/SOUND
American Express’ “Sherpa” (:30)
Big Sky Editorial
Chris Franklin, editor; Jenn Chambers, assistant editor; Cheryl Panek, executive producer.
Agency: Ogilvy & Mather, New York
Chris Mitton, John Leigy, creative directors; Tom Drymalski, art director; Curtis Mueller, copywriter; Melanie Baublis, producer.
Production Company: Bam Man, New York
Don King, director; Don King, DP
Music Composer: Los Lobos
Country Music Television’s “Dueling Sitars” (:30)
Panic & Bob Editing
Matthew Kett, editor; Samantha Mclaren, executive producer.
Agency: Zig Inc, Toronto
Elspeth Lynn, Lorraine Tao, creative directors; Stephen Leps, art director; Aaron Starkman, copywriter; Amanda Loughran, producer.
Production Company: Radke Films, Toronto
Michael Downing, director.
Discovery Channel’s “Antlers” (:60)
Big Sky Editorial
Chris Franklin, editor; Miky Wolf, assistant editor; Cheryl Panek, executive producer.
Agency: nicebigbrain
Jim Jenkins, creative director; Jim Larmon, art director; Kenny Herzog, copywriter; Ralph Laucella, producer.
Production Company: Hungry Man
Jim Jenkins, director
Sound Lounge, New York
Rob DeFondi, audio mixer.
NATIONAL CAMPAIGN
Coca-Cola’s “Sumer Games-Stories” (:60), “Summer Games-Pete” (:30), “Summer Games-Hired & Fired” (:30).
89 Editorial, New York
Jim Ulbrich, editor (Ulbrich is now with the New York office of Mad River Post) Megan Swados, assistant editor; Bob Cagliero, executive producer.
Agency: Berlin Cameron & Partners, New York
Jason Peterson, creative director; Dane Johnson, producer.
Production Company: Believe Media, bicoastal/international
Vogel.Villar-Rios, director.
Discovery Channel’s “Milk Truck” (:30), “Antlers” (:60), “Transporter” (:30)
Big Sky Editorial
Chris Franklin, editor; Miky Wolf, assistant editor; Cheryl Panek, executive producer.
Agency: nicebigbrain
Jim Jenkins, creative director; Jim Larmon, art director; Kenny Herzog, copywriter; Ralph Laucella, producer.
Production Company: Hungry Man
Jim Jenkins, director.
Hewlett Packard’s “Picturebook” (:60), “Francois” (:30), “Relay” (:30)
Chrome, Santa Monica
Hal Honigsberg, editor; Vince Oresman, assistant editor; Deanne Mehling, executive producer.
Agency: Goodby, Silverstein, & Partners, San Francisco
Agency Creative Director: Rich Silverstein, creative director; Steve Simpson, creative director/copywriter; John Norman, art director; Josh Reynolds, producer.
Production Company: Tool of North America
Francois Vogel, director; Adam Kimmel, DP.
PUBLIC SERVICE
American Legacy Foundation’s “Replacement Smokers” (:60)
Cosmo Street Editorial, bicoastal
Tom Scherma, editor; Aaron P. Langley, assistant editor; Maura Woodward, executive producer.
Agency: Crispin, Porter + Bogusky, Miami/Arnold Worldwide, Boston
Alex Bogusky / Pete Favat, creative directors;
Production Company: Chelsea Pictures, bicoastal/international
David Gordon Greene, director; Tim Orr, DP.
Office of National Drug Control Policy’s “Slam” (:30)
Version2. Editing, New York
Vito DeSario, editor; Micah Scarpelli, assistant editor; Linda Rafoss, executive producer.
Foote, Cone, & Belding, New York
Keith Ross, creative director/art director; Gary Resch, creative director/copywriter; Scott Cirlin, art director; Heidi Hackemer, copywriter; Laura Benjamin, producer.
Production Company: Partizan, bicoastal/international
Doug Nichol, director
Office of National Drug Control Policy’s “Rewind” (:30)
Version2. Editing
Vito DeSario, editor; Micah Scarpelli, assistant editor; Linda Rafoss, executive producer.
Agency: Foote, Cone, & Belding , New York.
Gary Resch, creative director; Ilana Rosengarten, art director; Judith Roth, copywriter; Laura Benjamin, producer.
Production Company: Partizan
Doug Nichol, director
SPEC SPOT
Blackbush’s “Phone Numbers” (:60)
Cosmo Street, bicoastal
Steve Prestemon, editor
Production Company: Headquarters, bicoastal
Jeff Labbé, director (He has since joined bicoastal/international @radical.media)
Nike’s “New Ball” (:60)
Cosmo Street
Jack Douglas, editor; Yvette Sears, executive producer.
“Little Busey” (:60 spec)
Terminal, Santa Monica.
Mark Goodman, editor; Paul Plew, assistant editor; Michael Gresch, executive producer.
Production Company: Incubator Films, West Hollywood
Tom DeCerchio, director
STORYTELLING
Coca-Cola’s “Summer Games-Stories” (:60)
89 Editorial
Jim Ulbrich, editor (Ulbrich is now with the New York office of Mad River Post); Megan Swados, assistant editor; Bob Cagliero, executive producer.
Agency: Berlin Cameron & Partners
Jason Peterson, creative director; Dane Johnson, producer.
Production Company: Believe Media
Director: Vogel.Villar-Rios
Lynx’s “Getting Dressed” (:90)
The Whitehouse, Santa Monica, Chicago, New York, London
Richard Orrick, editor; Jane Dilworth, producer.
Agency: Bartle Bogle Hegarty, London
Nick Gill, Rosie Arnold, creative directors; Dominique Smith, producer.
Production Company: Small Family Business, London
Ringan Ledwidge, director (He is repped stateside by Park Pictures, New York)
Nike’s “Magnet” (:90)
Rock Paper Scissors, Los Angeles
Angus Wall, editor
Agency: Wieden+Kennedy, Portland, Ore.
Mike Burn, creative director; Vic Palumbo, producer.
Production Company: RSA USA, bicoastal
Jake Scott, director; Fran McGivern, executive producer.
VISUAL EFFECTS
Adidas’ “Unstoppable” (:60, see credits in Montage category, above)
P.S. 260
Maury Loeb., editor
U.S. Air Force’s “Tornado” (:30)
Lost Planet
Paul Martinez, editor; Jen Dean, assistant editor; Betsy Beale, executive producer; Christie Price, producer.
Advertising Agency: GSD&M, Austin, Texas
Sr. VP Group Creative Director/Writer: Daniel Russ, senior VP/group creative director/copywriter; Brian Born, creative director/art director; Delores Stark, associate creative director/copywriter; Brian Donnelly, producer.
Production Company: harvest
Baker Smith, director; Bonnie Goldfarb, executive producer.
Visual Effects Company: Ring of Fire, West Hollywood, CA
John Myers, executive producer; Jerry Spivack, creative director/set supervisor; Casey Conroy, producer.
Hewlett Packard’s “Constant Change” (:30)
Company: Rock Paper Scissors, Los Angeles
Angus Wall, editor;
Agency: Goodby Silverstein & Partners, San Francisco
Rich Silverstein, Steve Simpson, creative directors; Rick Condos, sr. copywriter; Hunter Hindman, art director; Josh Reynolds, producer.
Production Company: Anonymous Content, bicoastal
David Fincher, director.
