Editor Grassia next with 3 honors; Ferruzzo, Morrison score 2 apiece; Arcade tops 5 categories
Editor Jim Haygood of Union Editorial won the Best in Show this evening (5/10) at the 2018 AICE Awards for excellence in the postproduction arts. Haygood was recognized for his work on “Web of Fries” for Taco Bell, a parody movie trailer for a thriller starring actor Josh Duhamel that promoted the brand’s introduction of its Nacho Fries product.
The spot, created by Deutsch, helped Haygood emerge as the most-awarded editor or postproduction artist at the show, winning four trophies: Best in Show, Best of West, Dialogue/Monologue/Spoken Word and Storytelling.
The second most-awarded at the show was Mark Grassia of Trident Post Production in Quincy, Massachusetts, who took home three AICE Awards, winning in the categories of Best of East, Digital Content-90 Seconds or Under, and Sound Design, all for Adidas’ “Form the Future,” a fast-paced, high-tech spot promoting the brand’s AdiZero sporting apparel for professional hockey.
The AICE Awards–now in its 17th year, but it’s first under the AICP banner–presented winners in 18 categories that honored the excellence and skill of the editor as well as nine craft categories which recognized artists in the disciplines of audio mixing, sound design, color grading, graphic design, visual effects and original music composition. In addition, Best of Chapter winners were also presented to the best work emanating from companies located in each AICP Chapter (East, Midwest, Minnesota, Southeast, Southwest and West). To view the winning entries, click here.
Winning two AICE Awards each were editor Jeff Ferruzzo of Arcade Edit and colorist Luke Morrison of The Mill. Ferruzzo won in Comedy for P&G’s “It’s a Tide Ad,” created by Saatchi & Saatchi, and shared the award for Broadcast National Campaign with Arcade Editors Kim Bica and Brad Waskewich for NBC’s “NBC Olympics.” Morrison won in Color Grading – 90 Seconds or Under and Best of Midwest for “Be Olympic” for the Canadian Olympic Committee and Sid Lee.
Overall, Arcade Edit was the most-represented company in the competition, with eight of its editors winning awards in five different categories: in addition to Bica, Ferruzzo and Waskewich, other winners were Ali Mao in Fashion/Beauty for “Active Lifestyle Essentials” for Clinique; Greg Scruton in Music Video for Kendrick Lamar’s “Humble;” and Graham Chisholm, Geoff Hounsell and Paul Martinez in Online Campaign for Activision’s “Reassemble.”
Work from the VFX artists and colorists at The Mill earned a total of four AICE Awards: in addition to Morrison’s winners, colorist Gregory Reese won in Color Grading-Music Video for Portugal.The Man and the company won in the Visual Effects category for its work on Monster.com’s “Opportunity Roars.”
Hall of Fame
Three editors were posthumously inducted into the AICE Hall of Fame at the awards presentation. Michael Bartoli of Hybrid Edit, Chris Hafner of Cutters and Eric Zumbrunnen of Exile were all honored for their bodies of work and contributions to the industry. The awards presentation was dedicated to their memory and to several other members of the L.A. post community who’ve passed away, including Linda Carlson and Angela Dorian of Rock Paper Scissors; Mary O’Gara, a producer and EP who worked at several VFX and post companies; and Daniel Spencer, an editor at Hybrid Edit.
The inductions of Bartoli, Hafner and Zumbrunnen were quite moving, celebrating not only their artistry but their humanity. Brief film remembrances looking back on their careers and lives were screened for the audience. Presenters for Zumbrunnen’s induction were directors Spike Jonze of MJZ and the team of Jonathan Dayton and Valerie Faris (Dayton/Faris) of Bob Industries. Dayton and Faris recalled their first meeting with Zumbrunnen, when he was an office runner and PA at Varitel Video in the 1980s. “We got to know him and his wit,” said Dayton who saw Zumbrunnen constantly learning and absorbing what was around him, leading to Dayton/Faris inviting him to cut a project for them. This in turn led to assorted collaborations, largely music videos, as the directing duo noted that Zumbrunnen’s skills as an editor were amazing, particularly the handling of music. Dayton noted that somehow Zumbrunnen made you hear and feel the music better. Dayton/Faris even started a boutique company with him, with a name reflecting what Faris described as Zumbrunnen’s wry sense of humor: Whipping Post. It was housed in the basement of Superior Assembly.
It was at Superior Assembly where Jonze met Zumbrunnen, leading to a deep friendship and longstanding collaborative relationship spanning commercials (including the lauded offbeat Kenzo World adventure) and features (Her, Being John Malkovich, Where the Wild Things Are). Jonze remembered Zumbrunnen as an “incredibly intelligent” editor whose grasp of performance was “immaculate.” Jonze described Zumbrunnen as “the guy I relied on.” Jonze said he was grateful to have worked with Zumbrunnen for some 20 years, noting that a director and editor spend a lot of time in a room together. “I’m glad I got to do it with one of my best friends,” Jonze affirmed.
Editor Tim McGuire, CEO of Cutters Studios, presented the Hall of Fame honor posthumously to Hafner. McGuire worked with Hafner extensively, observing his positive impact on others. McGuire described him as “an artist in every sense of the word,” a wonderful mentor to assistants, helping them to grow and advance. This mentoring and nurturing of others was evident during Hafner’s career prior to Cutters, which included his shop Brass Knuckles, a spawning ground for talent. McGuire said Hafner was “different” and “special” not only as an editor, a director and a musician but as a person.
Editor Susan Munro partnered with Bartoli at Hybrid. In making the Hall of Fame presentation, she described Bartoli with a series of nouns and adjectives ranging from “funny” to “listener,” “mentor,” “mischievous,” “loyal,” “family man,” “crazy” and “prankster.” She said that “Bart” was being honored by AICE “as much for his talents as for how he is as a person.” Munro added that he was “my creative partner and one of my best friends.” In introducing the film looking back on Bartoli’s life and career, Munro pointed out that those interviewed for the piece talked in the present tense. That’s because Bartoli “lives on in all of us.”
Camp Kuleshov
Also, the winners of the 2017 International Camp Kuleshov trailer competition for assistants were saluted for their achievements. They included Alex Heisterkamp of Lucky Post in Dallas, Jordan Stalling of Particle Audio in Chicago and Thom Reimerink of jumP in L.A.
Commenting on the quality of the work seen in the category winners, editor Jen Dean of Consulate, a member of the awards’ Curatorial Committee, said, “I feel it’s only getting stronger and more complex as our industry produces so much content in varying lengths. This gives editors, colorists, sound mixers, VFX artists and others working in post so many ways to stretch their creative legs.”
Regarding the Best in Show winner, Akiko Iwakawa, editor/partner at Cut + Run and also a member of the Curatorial Committee, said it impressed the jury by hitting on almost all cylinders. “This one came in a head above all other work,” she explains. “Great performance and dialogue editing, hilarious timings, creative transitions, great sounds and mood–definitely a great achievement by the editor to bring all these elements together to successfully deliver this rather complex ad, using the premise of a ‘thriller’ trailer spoof, but at the same time telling the story of the ‘fake’ movie, all while keeping me smiling the whole way through.”
Added Dean, “Even after many viewings it was difficult to pick out any flaws. The timing was impeccable, and this included not only the picture edit, but the use of sound and music, the dialogue editing, the speed ramps and just how perfectly it spoofed the traditional trailer. The idea was obviously so fun, but I felt the editor combined so many different editing skills to create such a perfect piece of storytelling.
“As judges, we’re really focused on how much the post production contributed to the process, and in this case, it seemed on multiple levels you could feel the hand of the editor,” she continued. “Ultimately it was the timing that created the drama; there wasn’t one skill dominating, all had equal footing and it was just perfect!”
Here’s a rundown of winners:
BEST IN SHOW
Jim Haygood, Union Editorial
Taco Bell
“Web of Fries”
AUDIO MIX
Steve Rosen, Sonic Union
Adidas Originals
“Original Is Never Finished 3”
AUTOMOTIVE
Biff Butler, Rock Paper Scissors
BMW
“Road Home”
CAUSE MARKETING
Aaron Langley & Tessa Davis, Cosmo Street Editorial
Burger King
“Bullying Jr.”
COLOR GRADING (90 Seconds or Under)
Luke Morrison, The Mill
Canadian Olympic Committee
“Be Olympic”
COLOR GRADING (Over 90 Seconds)
Sofie Borup, Company 3
P&G | My Black is Beautiful
“The Talk”
COLOR GRADING (Music Video)
Gregory Reese, The Mill
Portugal. The Man
“Feel It Still”
COMEDY
Jeff Ferruzzo, Arcade Edit
Procter & Gamble
“It’s a Tide Ad”
CONTENT PROMOTION AND TRAILERS
Olivier Wicki, BlueRock
Lifetime
“Glam Masters”
DIALOGUE / MONOLOGUE / SPOKEN WORD
Jim Haygood, Union Editorial
Taco Bell
“Web of Fries”
DIGITAL CONTENT (90 Seconds or Under)
Mark Grassia, Trident Post Production
Adidas
“Form the Future”
DIGITAL CONTENT (Over 90 Seconds)
Ricardo Lopez, Postal
Gillette
“Handle With Care”
DOCU-STYLE
Susan Munro, Hybrid Edit
UPS
“Girl Powered”
FASHION/BEAUTY
Ali Mao, Arcade Edit
Clinique
“Active Lifestyle Essentials”
INTEGRATION OF LICENSED MUSIC
Adam Bazadona, Cut + Run
Sonos
“From Screentime to Dinnertime”
LICENSED SOUNDTRACK OR ARRANGEMENT
Jens Schliecker, Yessian Music
Porsche
“Porsche Highspeed Orchestra”
MONTAGE
Jamie Foord, Rock Paper Scissors
S7
“I Am You”
MOTION DESIGN & GRAPHICS
Ivan Girard, Method Studios
Motionpoems.org
“Monsters”
MUSIC VIDEO
Greg Scruton, Arcade Edit
Kendrick Lamar
“Humble”
BROADCAST NATIONAL CAMPAIGN
Kim Bica, Jeff Ferruzzo & Brad Waskewich, Arcade Edit
NBC
“NBC Olympics”
ONLINE CAMPAIGN
Graham Chisholm, Geoff Hounsell & Paul Martinez, Arcade Edit
Activision
“Reassemble”
ORIGINAL MUSIC
Naren Rauch, COPILOT Strategic Music + Sound
State Street Global Advisors
“Fearless Girl”
BROADCAST REGIONAL CAMPAIGN
Grant Gustafson, Cutters
Blue Cross Blue Shield
“Blue Cross Blue Shield of Illinois”
SOCIAL MEDIA CAMPAIGN
Lindsay Rynne, Optimus
Nike
“The Force Is Female”
SOUND DESIGN
Mark Grassia, Trident Post Production
Adidas
“Form the Future”
STORYTELLING
Jim Haygood, Union Editorial
Taco Bell
“Web Of Fries”
UNDER $50,000
Aika Miyake & Brian Broeckelman, Cutters
Bootstrap Villages
“Bootstrap Villages”
VISUAL EFFECTS
The Mill
Monster.com
“Opportunity Roars”
BEST OF EAST
Mark Grassia, Trident Post Production
Sound Design
Adidas
“Form the Future”
BEST OF MIDWEST
Luke Morrison, The Mill
Color Grading – 90 Seconds and Under
Canadian Olympic Committee
“Be Olympic”
BEST OF MINNESOTA
Brett Astor, Channel Z
Dialogue / Monologue / Spoken Word
Angie’s Kettle Corn
“Crush It”
BEST OF SOUTHEAST
Jason Painter, Beast
Montage
Coca Cola
“My Generation”
BEST OF SOUTHWEST
Jack Waldrip, charlieuniformtango
Digital Content – Over 90 Seconds
Universal Orlando
“The Mourning After”
BEST OF WEST
Jim Haygood, Union Editorial
Dialogue / Monologue / Spoken Word; Storytelling
Taco Bell
“Web Of Fries”
Rom-Com Mainstay Hugh Grant Shifts To The Dark Side and He’s Never Been Happier
After some difficulties connecting to a Zoom, Hugh Grant eventually opts to just phone instead.
"Sorry about that," he apologizes. "Tech hell." Grant is no lover of technology. Smart phones, for example, he calls the "devil's tinderbox."
"I think they're killing us. I hate them," he says. "I go on long holidays from them, three or four days at at time. Marvelous."
Hell, and our proximity to it, is a not unrelated topic to Grant's new film, "Heretic." In it, two young Mormon missionaries (Chloe East, Sophie Thatcher) come knocking on a door they'll soon regret visiting. They're welcomed in by Mr. Reed (Grant), an initially charming man who tests their faith in theological debate, and then, in much worse things.
After decades in romantic comedies, Grant has spent the last few years playing narcissists, weirdos and murders, often to the greatest acclaim of his career. But in "Heretic," a horror thriller from A24, Grant's turn to the dark side reaches a new extreme. The actor who once charmingly stammered in "Four Weddings and a Funeral" and who danced to the Pointer Sisters in "Love Actually" is now doing heinous things to young people in a basement.
"It was a challenge," Grant says. "I think human beings need challenges. It makes your beer taste better in the evening if you've climbed a mountain. He was just so wonderfully (expletive)-up."
"Heretic," which opens in theaters Friday, is directed by Scott Beck and Bryan Woods, co-writers of "A Quiet Place." In Grant's hands, Mr. Reed is a divinely good baddie — a scholarly creep whose wry monologues pull from a wide range of references, including, fittingly, Radiohead's "Creep."
In an interview, Grant spoke about these and other facets of his character, his journey... Read More