They love Raymond. They hate Chris. So how do they feel about Der Fuehrer?
That’s the premise behind a sitcom called Everybody Hates Hitler, which also happens to be the winning entry in the AICE Toronto Camp Kuleshov trailer-editing competition for assistant editors. Submitted by Lauren Horn from School Editing, the :60 promo–which promotes Quentin Tarantino’s Inglorious Basterds as a network TV sitcom–was the top choice of the Camp Kuleshov jury.
Horn was rewarded for her efforts with a cash prize of $1,000, which was presented at the Toronto Camp Kuleshov judging and awards bash, held last week at The Rivoli bar and nightclub in Toronto.
Second place went to assistant editor Laura Dunn of Relish Editing for her comic take on The King’s Speech titled “How I !#$%?! Your Queen Mother,” in which Oscar-winner Colin Firth plays a royal who’s having problems more common with Viagra users than with those battling speech impediments. Dunn won an iPad 2 in recognition of her work.
Third place went to assistant editor Jason Cook of Panic & Bob Editing, who also chose to re-frame The King’s Speech. His entry, “The King’s Pad,” recasts the film as a comedy about two men–Firth and co-star Geoffrey Rush–who play apartment roommates with a somewhat ambiguous relationship. Cook was rewarded with a $250 Visa gift certificate for his efforts.
To view the Toronto winners, click on the AICE Camp Kuleshov Toronto web page here.
The assignment for the competition called for assistant editors to select one of a dozen films and cut a 60-second commercial that promotes the film as a situation comedy. The list of films ran the gamut from smash hits to cult favorites. In addition to Inglorious Basterds and The King’s Speech, it included The Social Network, Slum Dog Millionaire, Anvil! The Story of Anvil, The Blind Side, The Fighter, The Shawshank Redemption, Twilight, Pulp Fiction, Goodfellas and Drag Me to Hell.
In a departure from other AICE Camp Kuleshov competitions–in which the entries were judged several days before the awards presentation–the Toronto Chapter screened and judged the work in the style of a reality TV show like So You Think You Can Dance or The X-Factor. The event was even subtitled “So You Think You Can Edit, Toronto?”
Each entry was screened at the Rivoli event and judged right there on the spot, with the jury offering its critiques of each promo. The judges then scored them on a scale from 1 to 25, and the entries with the top point totals were the winners.
The jury included Michelle Orlando, a producer at John St. Advertising; Dan Ford, executive producer at production company Sons and Daughters; Tom Feiler, a director with Code Film; freelance agency creative Ian Kiar; and Jackie Roda, an editor at School Editing.
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